Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
This text serves as an extensive commentary on a sādhana dedicated to the deity Vajravārāhī, focusing on the attainment of the gnosis of suchness. The work functions as a technical manual for the practitioner, blending ritual instruction with philosophical exegesis. It argues that the realization of the coemergent (sahaja) nature of reality is achieved through the integration of emptiness and compassion, the manipulation of subtle energy (cakras and winds), and the precise execution of mantra and visualization. The author commits the reader to a rigorous path of transforming afflictions into wisdom, utilizing a system of symbolic substitutions where ritual elements—such as the skull-cup or intoxicants—represent deeper ontological states. By navigating the tension between eternalism and nihilism, the text guides the yogi toward a state of non-dual bliss and the perfection of the supreme stage, ultimately aiming for the realization of Mahāmudrā within a single lifetime.
Provenance
About this text
A commentary on the supreme sādhana of the glorious Vajravārāhī, the Marmakalikānāmatattvajñānasaṃsiddhipañjikā focuses on the attainment of the gnosis of suchness. The work is attributed to the Indian author Vīryaśrīmitrapāda. It was translated into the Tibetan language by Jetakarṇa, Paṇḍita Mañjuśrī, and lo tsa ba shakya’i dge slong nyi ma rgyal mtshan dpal bzang po. This classical Tibetan translation is preserved in the Tengyur, volume འ, where it comprises 70 pages and is situated within the collection of Śaṃvara and Related Tantras. The work enacts a technical manual for the practitioner, blending ritual instruction with philosophical exegesis to argue that the realization of the coemergent nature of reality is achieved through the integration of emptiness and compassion, the manipulation of subtle energy, and the precise execution of mantra and visualization. A scholar or serious reader consults this text today to understand the process of transforming afflictions into wisdom through a system of symbolic substitutions, where ritual elements represent deeper ontological states, guiding the yogi toward a state of non-dual bliss and the perfection of the supreme sādhanā.
Sanskrit title
Marmakalikānāmatattvajñānasaṃsiddhipañjikā
Indian author
Vīryaśrīmitrapāda
Tibetan translators
Jetakarṇa, Paṇḍita Mañjuśrī, lo tsa ba shakya’i dge slong nyi ma rgyal mtshan dpal bzang po
Cite thisAnuvāda, “An Extensive Commentary on the Perfect Attainment of the Gnosis of Suchness called “An Explanation of Suchness”” (Toh 1585), machine draft, 2026.https://naxiai.com/tibetan/works/toh1585
Summary & commentary
Significance
The work is significant for its detailed synthesis of tantric ritualism and the philosophy of the coemergent, providing a bridge between formal liturgy and internal yogic experience. For the modern reader, it illustrates the complex semiotics of Indo-Tibetan Buddhism, where physical actions and linguistic markers are treated as catalysts for cognitive shifts.
Structure
Passages
Section
Description
1-5
Introductory Homage and Deity Description
Initial invocations to Vajravārāhī and descriptions of her manifestation as the Great Lightning Flash.
6-17
The Path to the Supreme Stage
Discussion on abandoning obscurations, the nature of detachment, and the attainment of bliss and wealth.
18-65
Yogic Practice and Subtle Body
Instructions on the nature of consciousness, the use of mantras, the role of the navel-cakra, and the visualization of the five Tathāgatas.
66-94
Attainment and Ritual Application
Explanations of Mahāmudrā, the technical writing of mantra syllables, and the practicalities of ritual offerings and binding the directions.
Themes
Coemergent Nature (Sahaja) (2, 6, 9, 91)
Subtle Body and Energy (Cakras and Winds) (3, 5, 10, 65)
Non-duality of Emptiness and Compassion (9, 57)
Mantra and Symbolic Orthography (25, 86, 87, 93)
Transformation of Afflictions (7, 12, 81)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
AnuvādaAn Extensive Commentary on the Perfect Attainment of the Gnosis of Suchness called “An Explanation of Suchness”·
In the language of India: Marmakalikā-nāma-tattvajñāna-saṃsiddhi-pañjikā. In the language of Tibet: De kho na nyid ye shes yang dag par grub pa'i rgya cher 'grel pa de kho na nyid bshad pa zhes bya ba. Homage to Vajravārāhī!
The activity of Caṇḍālī, arising from the source of play, ascends as play; the self-arisen reflection that emerges radiates as great bliss, and for the sake of internalizing this, one plays. Having entered the supreme lotus, it swiftly bestows the realization of nirvāṇa. We bow to the supreme coemergent joy, the non-dual realization.
Like a boat on the ocean of accomplishment, unshakeable, the Sovereign is attached to the attainment of the mere sky. Bound like a traveler, one enjoys the two sessions; from the branch of the realization of the Vajra Play, for those disciples, first offer the knowledge of the method. The Vajra Goddess, the profound meaning, the swirling of supreme joy—through the realization of the spiritual friend, the mere words of the extensive commentary should be understood. For the sake of those who do not know, the spiritual friend himself makes it perfectly clear. This peerless, unsurpassed explanation of the profound ultimate truth—if it is to be unraveled, please show even a measure of respect.
In that regard, the Blessed Lady Vajra Joyful Play, who emerged from the unmanifest ocean of the Cakrasaṃvara Samvara, took the master Samādhivajra under her care, and he in turn received the instructions from the lotus feet of the sublime Guru.
The nature of both cause and effect is the fierce one. This supreme sādhana of the glorious Vajravārāhī, whose nature is the form of the coemergent (sahaja), has been composed, adorned with inconceivable and beautiful qualities. Then, she spoke to Vajravārāhī by way of auspicious verses. The first verse and the subsequent verses are interconnected, each revealing a distinct meaning distinguished by ten specific characteristics. Because the nature of that joy, characterized by the four moments, has arisen as her form, it dispels the darkness of ignorance of all wandering beings and generates the supreme path. The yoginī who protects the children born from that with compassion is Vajravārāhī; her meaning shall now be explained. Regarding the connection from "First, stirred by the winds" and so forth, up to "Vārāhī shall protect you": vārāhī refers to the bliss of various desires itself; vāra is called bodhicitta, and the first letter of the name is applied to vā itself. Alternatively, vārā refers to the bodhicitta pervading all the pores of the body, derived from the verbal root vṛ. Furthermore, the bindu itself, residing in the wheel of great bliss in the form of Heruka, ascends from the emanation wheel in the form of ahi; thus she is vārāhī. Moreover, because hī is established through becoming one through contact, she is called vārāhī. Alternatively, vārā means bliss.
The Mistress of the Wheel: Because she receives the command, the suffix vārā is applied to rā, and by the formation of the long vowel, she is called Vārāhī. Regarding this, the stages of the pith instructions shall be written: "Here, by the wind element, / For the sake of accomplishing the welfare of beings, / The goddess who is exhorted and arises / Is to be called Vārāhī." Likewise, from the Sādhana of Avadhūtī clearly taught: "The rākṣasa face is slightly constricted; / Meditate upon it as intensely blazing. / The sound vā is the wind itself; / A resides in the lower wheel. / By being moved by that, it is ra itself; / Ra itself has the form of fire, / The very nature of all phenomena. / In the form of dhū and tī, / From the nature of fire, ra itself, / Through being moved non-dually, / One should again view it in the form of a. / From the radiation of the Lord of Bliss, / The two as joined bestow ra. / The long vowel of the preceding letter is accomplished. / Ha resides in the wheel of bliss; / It is the very embrace of the rays of a. / Then, in that which is all-pervasive, / The various bindu is i itself. / From that, the supramundane mind, / The very bliss of the supramundane, / The inexhaustible ground of glory, / Has the form of the aspect of i. / The goddess is the seven syllables themselves, / The purity of the wisdom of the three times. / The Blood-Drinker is Vārāhī; / Thus spoke the hero Heruka. / From that, here is the Bhagavatī; / This is the vivid clarity of the manifold. / Because she appears sharp and deceptive, / She is called the Fierce Blood-Drinker."
Then, from the verses of the Root Tantra: "In the supreme secret joy, the self of all dwells eternally." By this, from the wheel abiding in the nature of Vajravārāhī in the form of the syllable A, rays of light like the tips of the sun’s rays—having the nature of fire—radiate forth. They touch the form of the bindu (drop) of the saṃvara (union) residing in the wheel of great bliss, and are then invited back; meditating on the flow of a stream of nectar is explained by the Guru as the caṇḍālī yoga of the Blessed Lady. This is clear, having been transmitted from the feet of Nāṇḍipa down to one’s own sublime Guru through the lineage from ear to ear. This arises from the stages of the great beings; therefore, you noble persons should be extremely respectful. If you ask what that is like, it is "stirred by the wind" and so forth. First, "stirred" means upward. From where is it stirred? It is said, "arising from the lower wheel." That which resides below the wheels of phenomena (dharmadhātu), enjoyment (saṃbhoga), and great bliss is called the "emanation wheel" or the "lower wheel." Second, "by the wind" means by the upward-moving apāna wind. "Like a flash of lightning" means that here, in the form of light, or the form of the fire of primordial wisdom (jñāna), or the nature of clear light (prabhāsvara), or the form of passion, it burns the fuel of the aggregates, elements, and sense bases; therefore, she is the Blessed Lady. Where is such a one seen? From the Commentary on the Spring Drop:
From the thick darkness of gathering black clouds, she arises as the Great Lightning Flash, surpassing all. To the Blood-Drinker who utterly incinerates both the vessel and its contents, the Mother of diverse beings, I prostrate. From the mass of water agitated within the navel-cakra, she arises through the union of the vajra and lotus. To the one who drinks the essence, surpassing the fire of the Supreme Steed, and from whom the stream of nectar flows, I prostrate.
Regarding the phrase "having incinerated the three with spokes": the term "possessing spokes" refers to that which is endowed with them, thus establishing the cakras. As for "having incinerated," what is incinerated? The three cakras of dharma, enjoyment, and great bliss are incinerated, becoming of one taste in the absence of intrinsic nature. "Worshipped by the three worlds" means worshipped by the realms above the earth, upon the earth, and below the earth; or alternatively, it is the aspect of the complete perfection of the nature of body, speech, and mind. "The stream of nectar flows" means that the stream of nectar flows from the form of the syllable Haṃ residing in the cakra of great bliss, thereby pervading [the body].
By this, all conceptualizations of time and non-time are abandoned at the root. Because it arises from the uninterrupted, coemergent bliss, it becomes of one taste; this is called the "Supreme Joy." This is what is being shown here.
When the Blessed Lady, who possesses the body of primordial wisdom, has abandoned the obscurations of the afflictions and the obscurations to knowledge, and the inconceivable form is fully perfected, the yogi is said to have reached the "supreme" stage. Regarding the phrase "blended with the essence of the Buddha's wisdom": the Buddha is the union of the vajra and the lotus. From this, the supreme drop of bodhicitta reaches the root, the middle, and the tip of the jewel. The wisdom arising from that is called "Buddha-wisdom" because it is free from any weariness.
Regarding "essence," it is like a young maiden experiencing her first bliss, or like enjoying a flavor never tasted before, or like the indescribable experience of a special dream-bliss; it is the supreme meaning of the clarity of suchness, free from doubt. "Blended" means that by relying upon it with certainty, one abides in it without interruption. In this context, "free from faults" refers to the defects of the afflictions, such as desire and so forth. "Free" means that here, within the state of great bliss, all defects have dissolved. As it is said:
"Whatever the mind is habituated to,
It engages with the objects of knowledge accordingly;
It is not moved by defects—
Thus should all be viewed."
Likewise:
"By meditating in such a way,
The mind is brought into union.
Like a jewel that takes on various forms,
It becomes of that very nature."
Alternatively, "fault" refers to the loss of bliss through detachment.
Alternatively, "fault" (doṣa) refers to sin, which is the nature of non-detachment. Here, the nature of sin is also non-detachment. "Detachment" (virāga) is the abandonment of those [faults]. Likewise, Āryadeva also said: "Through detachment, sin is [eliminated]; desiring bliss, one should protect that very [detachment]." And similarly: "By abandoning the essence, bliss declines; through the decline of bliss, suffering arises; suffering causes the elements to be exhausted; through exhaustion, death occurs."
Regarding "bestowing the assembly of universal joy" (ānandagaṇadāyin): therein, "universal joy" (ānanda) refers to the gathering of all authentic bliss, from joy (ānanda) and the joy of separation (virāma) up to the most sublime, and then rendering that very [bliss] without intrinsic nature. "Assembly" (gaṇa) refers to the gathering of all those, such as joy and so forth, into a single taste within the coemergent joy (sahajānanda); thus, it is called an "assembly." "Bestowing" (dāyin) means the attainment of that.
Alternatively, "universal joy" (ānanda) refers to the fact that the entire assembly of the sense faculties, objects, and consciousnesses arises uniquely as that joy. "Assembly" (gaṇa) refers to the fact that the entire aforementioned assembly of joy, the joy of separation, and so forth, is of a single taste in bliss. "Bestowing" (dāyin) means the attainment of that very [state].
Alternatively, "universal" (ā) refers to the specific [form] of Vārāhī; "joy" (nanda) refers to supramundane bliss; and "assembly" (gaṇa) refers to all the perfections (sampad) of those two. "Bestowing" (dāyin) means that by meditating on the Blessed Lady (Bhagavatī), let alone mundane perfections, even those supramundane accomplishments (siddhi) are closely attained.
The meaning of this is that by practicing what is explained in this sādhana, one will obtain wealth; however, this [text] bestows wealth together with bliss. There is also a version of this source text that says, "bestows the assembly of excellent joy." Regarding those [joys], first, when the bodhicitta reaches the root of the jewel, the waist, and the tip [of the central channel], the joys arise through the dominant conditions of the moments of vicitra (the manifold), vipāka (ripening), vimarda (crushing), and vilakṣaṇa (devoid of characteristics) respectively; this is "excellent joy." Because all such joys are perfectly assembled, it is called an "assembly." Since these arise from meditating on the Blessed Lady, she is the "bestower." Here, through being fully ripened by the grace of the Blessed Lady in that way, the extremely rare momentary cognition is born within the continuum. Otherwise, the bindu (drop), having become unstable and degenerated, would remain on the filaments of the lotus rather than in its own place. Having abandoned such [degeneration] and ripened it within oneself, it also becomes "bestowing the assembly of one's own joy." As for the phrase "free from the analysis of existence and non-existence": "existence" refers to the extreme of eternalism and "non-existence" refers to the extreme of nihilism; alternatively, "existence" refers to the conventional and "non-existence" refers to the ultimate. "Free from analysis" means being free from grasping at those [two] as being either true or false.
Furthermore, just as if consecrated by an accomplished mantra, in that very instant of the non-duality of emptiness and compassion, all phenomena become a single taste; this is the form. By this, the demons of eternalism and nihilism are terrified. In some contexts, "free from analysis" means that the yogi, having entered into that bliss, analyzes it as the nature of the Blessed Lady. "Free" means being free from other desires. Regarding the explanation of another specific form of the co-emergent goddess from the perspective of the yoga of the completion stage, the passage beginning with "from the lower cakra stirred by the winds" and so forth should be explained by the power of the commentary as: "First, Vārāhī shall protect you." Regarding "Vārāhī," vāra refers to the afflictive and cognitive obscurations and so forth, and hī refers to that which destroys them. In this regard, the oral instructions of this tradition should also be explained by deriving them from the word vārāhī: "Vā is not the domain of speech; Rā is the nature of phenomena; A is that which abides eternally; Ha abides in the bliss-maker; I is the desire for insight; Ha is seen as the end of I; the meaning of the action of this trunk is expressed as Vārāhī." The accomplished master Kṛṣṇapāda stated in the Śrīsaṃvara-nāma: "Vā is not the object of speech; Rā is devoid of the aspect of shape; Hī is obtained from the sequence of the cause; this is renowned as the word Vārāhī." Thus it is said.
Now, regarding the phrase "arising from the lower cakra," the grammatical term tāla can also mean "below" or "nature." According to the second interpretation, tāla refers to the nature itself, which is called one's own form, ābhāsvara (clear light), or emptiness (śūnyatā). That itself is the cakra (wheel), because it cuts through all conceptual constructions (vikalpa). From that very source, like waves arising from the ocean, one meditates on that which has arisen through the force of the power of aspiration (praṇidhāna).
By the sound of "wind" (vāyu), it is said that the yogi’s consciousness (vijñāna) is mounted upon it, just as when a person comes riding a horse, one says "a horseman has arrived." "By the wind" refers to the life-sustaining wind (prāṇavāyu), the vehicle of consciousness. Furthermore, it is like a person who cannot remain still once they have caught a horse. "By moving" means that because the consciousness mounted upon the life-sustaining wind is fully grasped, the form that is entirely without grasping radiates forth. When the wind and consciousness are thus dissolved into their natural state, there is no engagement with various cognitions. Therefore, one should constantly settle into this very state.
Regarding that point, although the color and hand-symbols of the goddess of the coemergent form (sahaja-rūpa) are not established here, in order to familiarize oneself with that coemergence, one meditates on the nature of mind as a precious jewel in the form of a body through the power of previous aspirations. Like a bhañjuka flower, it is beautifully adorned with a white skull-cup, a yellow corpse, a black curved knife (kartṛkā), a green banner, and so forth, as well as the five precious jewels.
From the five colors, five rays of light radiate, and the yogin and yoginī, who are the nature of the five Tathāgatas, arise in the form of a dance in their midst. The Blessed Lady, emanated from a nature as stainless as the center of the sky, should be understood to be like a rainbow, a city of Gandharvas, or a painting in the sky. Therefore, in this context, the goddess is the form of the syllable Aṃ, and the form of Amoghasiddhi is the syllable U, which is wind. When these two are blended together and perfected, they are emanated in the form of the syllable Baṃ at the navel cakra. This is attained by practicing with diligence and arresting the two winds with an unwavering mind. Regarding this, the Hevajra Tantra states:
"Vajragarbha, O Great Compassionate One,
By the very nature of things one is liberated,
Yet by the bondage of things one is bound;
Through fully knowing them, one is liberated."
Likewise:
"Knowing the reality of things is the remedy;
Not knowing the reality of things is the enemy.
Through impurity it is poison,
But through purity it is the supreme nectar."
"Radiant like a flash of lightning" means that because it removes all suffering, it is like a flash of lightning or light that dispels darkness with a mass of radiance. "The three spoked ones are burned" means that the three spoked ones are the sense faculties, the objects, and the consciousness that perceives them. "Burned" means that the three enemies of the object of that consciousness, which is the nature of consciousness, are destroyed.
Alternatively, "the three with spokes" refers to desire, hatred, and delusion. "Burnt" means that these, along with their seeds, are abandoned. "Worshipped by the three worlds" means that the "worlds" are the yogi’s body, speech, and mind. "Worshipped" means that by being thus perfected, one becomes an object of worship. This perfection of oneself in the form of the goddess is also the offering to the goddess. "Flowing with a stream of nectar" means that "nectar" is great bliss, and "flowing with a stream" means that bliss is uninterrupted. "Mixed with the essence of the Buddha’s wisdom" means that the "Buddha" is the very nature of the reality of things. As it says in the Hevajra Tantra: "From knowing the nature of things, one is called a Buddha." Wisdom is the knowledge of that very suchness; being mixed with its essence, one enjoys it without effort. Regarding "free from defects," "defects" are the afflictions such as desire or conceptual thoughts. "Free" means that these have been abandoned. "Bestowing the assembly of universal joy": the word "universal" has been explained above. "Bestowing the assembly of joy" is derived from the root dā, which has three meanings: giving, purifying, and cutting. The meaning of "giving" has already been explained. "Purifying" means that the three—initial joy and so forth—are purified into a single taste within the state of the coemergent.
Regarding the term Chöpa (Cutting), in the sense of "bestowing the assembly of one's own joy": the syllable sva refers to the self, which is the attachment to the object of the grasping view of a self. "Assembly" refers to wandering continuously in saṃsāra. Because it cuts all of these without exception, it is applied to the term "Cutting." In this context, "free from the cutting of entities and non-entities" means: "entities" refers to the three types of apprehension; "non-entities" refers to the grasping at non-existence; and "cutting" refers to the mind that grasps at those. To abandon these is "freedom." In that regard, she is to be called the Bhagavatī. The Mother of the Victors states: "The mind is not established as any entity whatsoever, whether existent or non-existent." This verse also teaches another specific meaning: by the power of the connection to the knowledge of the letters ka and so forth, it is drawn out and explained as, "O Vārāhī, may [this] become clear in your mind." Here, the action is "becoming clear," the agent is Vārāhī, and the connection to the mind is expressed by "your." The meaning of Vārāhī should be understood as previously explained. Why is she called a "Goddess"? Because she is born from that which is "become clear." Regarding "seated upon the solar maṇḍala of the emanated spokes": first, she abides in the form of the syllable vaṃ upon a solar maṇḍala in the center of the emanation wheel (nirmāṇacakra). Then, "arising from the lower wheel" means that by the power of the practitioner's sharp faculties, she is moved upward from that very place.
Regarding the phrase "surrounded by the letters beginning with Ka": this refers to the consonants (kāli) beginning with Ka, and the vowels (āli) beginning with A. In this context, since the letter Kṣa is fully formed by the combination of Ṣa and Ka, the forty-nine letters excluding Kṣa are intended. These represent the purification of the forty-nine winds renowned in the world. Here, the terms āli and kāli should be understood as referring to the two winds that flow through the left and right channels. First, those two winds, having abandoned their initial path, are circulated to their respective locations. Therefore, this is an instruction to meditate by means of recitation. "Stirred by the wind" means that, being stirred by the downward-clearing wind (apāna), they enter the central channel (avadhūti). Furthermore, on the level of mere conventionality, the two garlands of āli and kāli are circulated to the left and right and pointed upward, abiding in the maṇḍala of the Lord of Day.
"Blazing intensely like a flaming fire" means that what previously existed in the form of the syllable BAṂ at the emanation wheel (nirmāṇacakra) now blazes even more intensely than the blazing mass of fire that is the form of the Blessed Lady. Then, "like a flash of lightning" means that from that blazing state, a flash like lightning shoots upward. "Dripping nectar" means that from the point where the flash strikes and is generated, a stream of nectar (amṛta) flows continuously; this is due to meditating on the Blessed Lady from the wheel of great bliss (mahāsukhacakra). In this regard, the phrase "having burned the three spoked [wheels]" refers to descending from the wheel of great bliss.
The three wheels are also rendered as being without intrinsic nature. Regarding the phrase "as subtle as a lotus fiber": having rendered the nature of the avadhūtī as a nature of non-apprehension, one flows into the extremely subtle. Regarding "venerated by the three worlds": once the yogi’s body, speech, and mind are fully perfected as the nature of the goddess’s body, all conceptualizations are reduced to a mere nāda; when even the apprehension of that is pacified, one meditates on union, or when [that] is attained, it is an offering—this very state is called "offering." Regarding "knowledge" (vidyā), the term vidyā also implies "filled"; because this goddess is bliss, she possesses a body of wisdom (jñāna). Regarding "the stream of nectar flows intensely": the meaning is that all goddesses who possess the body of wisdom are bathed. Alternatively, the "stream of nectar" is the uninterrupted flow of the nature of great bliss. Regarding "burning the assemblies of buddhas": the "assemblies of buddhas" refers to the nature of the five tathāgatas; having burned away any separate understanding or mere appearance other than that, one renders them without intrinsic nature. There is no other object of apprehension whatsoever apart from the nature of the five buddhas. The Blessed One also said in the Guhyacandra: "All these wandering beings are the nature of the five tathāgatas." And from the Pravṛttisamuccaya*: "These very five aggregates are the perfect buddha itself; apart from the meaning of this object of apprehension, there is no manifold object of apprehension."
Because the Blessed One and the Blessed Lady are non-dual, the goddess Locanā and the others are likewise apprehended. Regarding the term "Buddha-wisdom" (buddhajñāna), there is no desire or apprehension of it as being a sentient being who is not a Buddha. Therefore, in this context, the phrase "mixed with the essence of Buddha-wisdom" indicates that the nature of all things is utterly pure. There is the statement, "burning the assemblies of the consort Buddhas," where "bliss" (sukha) is derived from the sound [of the syllable su] and refers to wisdom (jñāna). By adding the suffix ya, the meaning of "going" (yāna) is obtained. Thus, "consort" (vidyā) refers to Locanā and the others, who are the wisdom of the Buddhas. In one sense, this is described in two ways: like a lotus fiber and as a subtle apprehension. Among these, the "subtle" is the wisdom of non-apprehension. Regarding "like a lotus fiber," it refers to that which opens the three cakras. Thus, like a lotus fiber, it pierces the nature of the three cakras. Furthermore, having drawn up the bodhicitta residing in the heart of the Blessed Lady’s lotus from the tip of the Blessed One’s jewel, it proceeds by piercing the three cakras once more; then, a subtle stream descends from the state of great bliss (mahāsukha) to provide the impetus. In this regard, the phrase "free from defects" means that, being free from afflictions and the like, it arises as nothing but great bliss. Similarly, regarding "accompanied by universal joy" (sānanda), "joy" (ānanda) refers to the drop (bindu) itself, including both cause and effect. "Universal" (sam) means without exception. "Joy" (ānanda) is the attainment. "Accompanied" (saha) refers to those very things: the cause and the effect.
Alternatively, for one endowed with such bliss, it is called the "assembly of one's own joy" or the "assembly of perfect joy." Regarding the word "bestows" (sṛjati), because one possesses that capacity, one has the power to care for others, and thus it is "bestowing." Regarding "ascending play" (ūrdhvaga-līlā): "play" itself refers to being bound by great passion and then entering. Because one moves and ascends through the central channel (madhyamā), it is "ascending." Alternatively, "play" arises from non-dual great passion. As for "ascending," where does one ascend? One ascends to the wheel of great bliss (mahāsukha-cakra). This is explained in this very context by the phrase "free from the analysis of existence and non-existence." There is no other analysis for that which is bound by the nature of great passion. Analysis is distraction. Why is that? Because there is no connection between analysis and great passion. The Blessed One has said that in the unmoving ocean of bliss, the bubbles of conceptual thought do not arise. Furthermore, another explanation is given: regarding "the emanated-spoked," "emanated" (nirmāṇa) here means that which produces; "spoked" (ara)—by the word ara—refers to a wheel (cakra) and also to an enemy. There are three enemies; because they are abandoned or destroyed, they are clarified here as the corpse-seat (śava-pīṭha), which is the purity of selflessness. The Lord of Day situated upon that, having fully known through the maṇḍala of light of utterly pure primordial wisdom (jñāna), has "gone" (gata). "Gata" means gone, or...
Regarding "that which has gone is the going": by the phrase "surrounded by the letters beginning with Ka," the vowels and consonants (āli-kāli) are the form of insight (prajñā), which is the very nature of all phenomena (dharma). Alternatively, by the term karyadi, kāli and āli are established; their initial letters are Ka, A, and so forth. Or, they are derived from the nature of the first letters of the seven classes, Ka, Ca, Ṭa, Ta, Pa, Ya, and Śa. The sixteen letters beginning with A are established by A, and that alone is the nature of all phenomena, which is A. As it says in the Hevajra:
"The yoginīs reside in the body mandala;
A enters by way of the vow.
Likewise externally and likewise internally;
This very vow is the clarity itself."
That very form of the utterly pure dharmadhātu, the perfection of wisdom (prajñāpāramitā), is attained by means of a single letter. "Blazing like a fire" refers to a body pervaded by the blazing of various lights. "Nectar" (amṛta) is liberation. "Flowing forth" means bestowing or generating this very [nectar] for others. "Subtle like a lotus fiber" means the extreme subtlety of the non-apprehension of form. "Vidyā" refers to the coemergent form of the meaning of insight. Alternatively, vidyā is a goddess, the meaning of which is the nature of unconditioned wisdom (jñāna). "The hosts of Buddhas are burned" means that by the term buddhakadam, buddha refers to the Buddhas of the Hearers (śrāvaka) and Pratyekabuddhas.
Kadampadṛṣṭi refers to wrong views, such as seeking liberation and freedom for oneself alone. "Burnt" means that by striving for the benefit of sentient beings in that way, those [views] are eliminated or destroyed. Alternatively, "the assemblies of buddhas" refers to the grasping at objects and subjects. "Burnt" means they are rendered into the nature of non-apprehension. Regarding the phrase "that which opens the three cakras," the three cakras are the nature of body, speech, and mind. Once these three have become distinct, they sever the authentic view; its nature is the meaning of destroying or severing. "Together with joy" refers to the nature of coemergent joy. "Play" refers to great passion, the sphere of activity of the unsurpassed meaning. "Ascending" means attaining their own welfare. The passage beginning with "Vārāhī, you..." is merely an explanation.
The subject matter shall be explained by way of homage: "By the Vajra Yoginī," and so forth. By the power of the connection, I shall first explain the statement "I shall establish that suchness." This is because the name of the result is metaphorically applied to the cause, known as the Tattvajñānasiddhi (The Accomplishment of the Wisdom of Suchness). "With my head" means with the crown of the head. "I" refers to the author. "Suchness" is the nature of supreme bliss, which is beyond the domain of speech and has abandoned all conceptualizations of self and other without exception. "Wisdom" refers to that very [suchness].
The vajra of one’s own awareness is wisdom. Likewise, it is stated in the Hevajra Tantra: "In the same way, it is the supreme bliss." "Accomplishment" refers to the method for that. "Expressed" refers to the purpose. Regarding "by the vajra, the yoginī": "vajra" refers to the inexhaustible bindu or great bliss. "Yoga" refers to being in union with great bliss. "Preceded by the vajra" means indivisible. "Preceded" refers to wisdom. "Vārāhī" has already been explained. If one asks what is to be done with her, it says "with the head," meaning with the crown of the head. "Having prostrated" means prostrating to the form of the coemergent nature together with the form of the caṇḍālī that has arisen in that way. "For the sake of remembering oneself" means one should humble oneself.
The place of meditation is taught: "In accordance with the mind," and so forth. This indicates that one should meditate on the complete purity through the power of connection. "Complete purity" is emptiness. By meditating on that, pride such as conceit is eliminated. Alternatively, since it is taught that those of supreme intelligence protect others through emptiness, one should first meditate on emptiness. This is stated: "Obstacles are emanations of the mind; as the nature of all phenomena, that very thing is called complete purity. This is the ultimate protection."
"In a secluded place that accords with the mind" means that it is a place that accords with the mind, providing a benefit that delights the mind. "Secluded place" means a place free from people.
Regarding the phrase "the Protector is the head-mark," the Protector is the Vajra Guru. The "head-mark" refers to meditating on him in the form of that [Guru] upon the crown of the head. As for "the wise one having entered," the term sudhī (blo ldan) also means "one of excellent intelligence," referring to one whose mind is free from the stains of faults. In this context, it is understood that the Vehicle of Insight (prajñā-yāna) is the domain of those with sharp faculties, the Blessed Lady. Here, I shall write of the specific distinctions as taught by the Guru. "Excellent intelligence" refers to generating the realization of meditating on the stainless nature of the mind itself; this connects with the phrase "meditating on purity." Alternatively, "excellent intelligence" means the complete purity of both outer and inner insight. "There" refers to that secluded place. "Extremely soft" means that it produces bliss when touched. "Seat" means upon that [surface]. In that very place, the Blessed Lady is the Buddha of the insight-mind through thorough realization, as stated in the Hevajra Tantra. If one asks where she sits, she sits upon the seat; by the word "seat," it is the vajra or the emanated maṇḍala itself. Its seat is the source of phenomena (dharmodaya). Thus, it is said in the Hevajra: "That which is the excellent form of the letter E, adorned in the center by the letter Vaṃ, the casket of the Buddha-jewels, abides as the maṇḍala of the letter A." Furthermore, it is said: "Then, 'soft' means that which is captivating and of a nature that is blissful to the touch." These are called the "source of phenomena."
How is the pure state to be meditated upon? It is said, "having entered a secluded place." Here, the term sthāna means "place," which refers to the meaning of great bliss, the abode of all phenomena, in which the mind is made to rest with confidence. "Seclusion" means the absence of the conceptual thoughts that arise at all times. As it is stated in the Vajraḍāka: "Seclusion is the abandonment of conceptual thoughts regarding self and sentient beings." Alternatively, seclusion is that which is born from a girl of the vajra family and so forth. Likewise, it is also said: "In that regard, the bliss born from a supreme girl praised by all the tathāgatas is seclusion; this is called a place that is concordant with the mind."
In this way, the mind permeated by conceptual thoughts such as "done" and "not done" is always accompanied by suffering, for these diverse entities are poison. A mind free of conceptual thought attains bliss at all times. As the Blessed One said: "From mental joy, meditative concentration (samādhi) arises; by its arising, the supreme is attained."
How does this occur? It is said: "The Protector marked by the head." The term nātha refers to the Protector, which is the bindu (drop). Furthermore, by the term nātham-ka, it is understood as aṃ. The syllable ka refers to the head or bliss; thus, the meaning is the non-dual cognition of bliss marked by the bindu.
Therefore, by abandoning the drop (bindu), bliss is abandoned, and that abandonment is the nature of suffering. Alternatively, "Protector" (nātha) refers to the Vajra Master (ācārya); because he marks his own head with the letter ka, the meaning of that is to cause the attainment of bliss. Why is that? Because the Guru, having conferred the empowerment of the wisdom-gnosis (prajñājñāna-abhiṣeka) and so forth, introduces and demonstrates bliss. Thus, having entered into the union of the vajra and the lotus, one is established in the meaning of emptiness through the purity born of great passion. As it is said in the Hevajra: "In supreme joy, there is no meditation and no meditator; there is no body, no apprehended object, and no apprehending subject; there is no flesh or blood, and no excrement or urine; there is no disgust, no delusion, no ritual purity, and no sacred thread." And as it is said in the Vajradharma-sādhana: "From the entry into the vajra and the lotus, it arises with utter clarity. By thus stabilizing the mind, the great bliss of the form of non-conceptuality will arise." In that regard, this mantra should be recited: oṃ śūnyatājñānavajrasvabhāvātmako ’haṃ. The pith instruction here is that one should meditate on emptiness arising from the manifestation in the nature of great passion. Furthermore, it is said: "Thereafter, with the syllables and so forth, the Victorious Vajra-Holder, the Nameless One, having written [it], should worship with red flowers." This is the connection.
Vajra is the innate joy within the indivisible reality. That which holds it is called "Vajra"; what is held is the drop (bindu). Likewise, it is the very perception of the drop and bliss merged. Thus, it is stated in the Hevajra Tantra: "The Blessed One is the form of the seminal fluid; his bliss is called the Desire Lady." The heart mantra of that Vajra-holder definitely resides within the source of phenomena (dharmodaya). Regarding the offering of red flowers: one should first offer flowers such as the amala, karavīra, and bhañjuka. From the Sanskrit tadanu ca, it may be translated as "after that" or "and after that." The particle ca expresses "and" or "also," indicating other distinctions; one should understand that the two verses to be explained later refer to first performing the ritual bath and then making contact, or alternatively, as taught in the oral instructions, making an offering to the source of phenomena. In this context, the particle ca is connected in that way. If one asks how that is done: "having written" means having correctly written it clearly and without confusion inside a three-finger-width source of phenomena. What is written is the "Sixth Victorious One," which is Akṣobhya. What is Akṣobhya? He is the nature of the seminal fluid or the nature of black; thus, in the Cakrasaṃvara, Akṣobhya is established as the sixth Tathāgata.
Likewise, from the Abhisamaya of Lūyipa: "The aggregate of consciousness is Vajrasattva, the self-nature of all the Tathāgatas, who is the glorious Heruka." Regarding the recitation of the three-syllable mantra, it is oṃ āḥ hūṃ, which should be used to perform the consecration three times. As for "with the ring finger," it refers to the ring finger of the left hand; in the yoga of Cakrasaṃvara, all activities are to be performed with the left. As it is said in the Śrīsaṃvara: "At all times, the yogi should act with the left; the left foot should be moved first."
As for the explanation: "the heart mantra of the Vajra-holder" refers to the source of phenomena (dharmodaya), and "the red flower" refers to the self-arisen blood. "Offering" means that by the union of these two, one sustains, clarifies, projects, and moves. Why is this called "offering"? This is known as the vehicle of great passion (mahārāga). In this context, while worldly variety of passion merely causes one to remain or be born there, this very [passion] attains the purpose of the great accomplishment. Furthermore, by focusing on utterly pure passion, one attains the supreme fruit; the Master says this is attained individually through the cause of stabilizing the mind upon the bodhicitta-mudrā.
Likewise, from the Hevajra: "Just as one is burned by cooking, one should be tormented by fire itself; likewise, those burned by the fire of desire should be tormented by the fire of desire."
By whatever portion of poison causes all beings to die, one who knows the reality of that very poison uses poison to dispel poison. Just as for one seized by wind, one gives a meal of mung beans; by administering the medicine of the opposite, the wind strikes the wind. Thus it is said.
Alternatively, the "Heart Mantra of the Vajra-Holder" is the source of phenomena (dharmodaya) of the inner self, and the "red flower" is that which is accompanied by passion. The "offering of one's own bliss" is the offering of the specific realization within one's own blissful mind. Even for a yogi who lacks a karma-mudrā, the supreme mind arises in that same way through the grace of the feet of the sublime guru. Likewise, the venerable Ṭāṇḍavīrapāda said:
"Even without insight, that which makes the state of the Vajra-Yoga instantaneous, the very essence of the bodhicitta-dew, brings about manifest enlightenment in the ultimate sense. It swiftly captivates the mind with light, like a fierce [remedy]; this is the blessing of the sublime guru and none other."
In that way, the continuous presence of the blissful mind is certain to attain accomplishment. As the Vajraḍāka states: "By the torment of suffering and austerities, the body is withered by exhaustion. By suffering, the mind is distracted; through distraction, accomplishment turns into something else."
Alternatively, this is the great alchemy (rasāyana); by inhaling it or consuming it, it produces whatever is desired.
It is likewise said: "Great blood together with camphor is the supreme of all elixirs. Produced when the time has come, great blood is the very substance of the flower." Regarding the term "having written" (bris te), the word li kha refers to either writing letters or to the unchanging; it means to tame by means of the unchanging form. How so? By the term "nameless" (ming med), which is the word anāmika; it can mean "nameless" or "immortal" ('chi med). Therefore, it is so called for the sake of arising or standing up. How is that indicated? By the term "the sixth Victorious One" (rgyal ba drug pa), it is the very sign of the black intoxicant. Furthermore, that itself is the substance to be drunk. Regarding "reciting the three syllables," the three are the unchanging body, speech, and mind, which are of an immovable nature. "Reciting" (bzlas pa) means to hold; it is the ascertainment of a single taste in suchness. It is likewise said: "Dwelling from forest to forest, entering from path to path, led by the taste of the ladu in the circle, like a tamed elephant, so too the elephant of the mind itself, dwelling in the enclosure of innate desire, through the power of the yogic intoxicant, even the powerless mother is relied upon in that way. When the elephant of the mind is bound by molasses, rice, and so forth, fears are destroyed; it dwells having found the supreme peak. For the sake of accomplishing that very object of accomplishment, even that which is not an object of accomplishment should be accomplished. Through that door, the mind is likewise [tamed]."
"Even the performance of what is not to be done is itself the practice," it is said. Also, from the Vajrarāgaguhyasādhana:
"When the forest and the intoxicant arise,
One should recite them with logic.
Without letting suchness degenerate,
One should act with just the right measure.
Just as a great medicine,
Which possesses an excellent taste and clears away disease,
So too, the bliss of method and insight
Spontaneously clears away the afflictions.
Regarding a beautiful girl,
Through the purification of desire and the desirous,
One is bound by the neck with a noose,
While the other is the weapon that cuts the bonds."
Furthermore, if one asks why it is called "nameless," it is said: "That is the Sixth Victor," and its meaning is "to be joined." Where is it joined? It is joined with the bodhicitta of the Sixth Victor. The meaning of "abiding in that" is "arising," which is the meaning of being joined with the perfectly full bodhicitta. Regarding "reciting the three syllables," the three syllables are the recitation of body, speech, and mind; through their dissolving into one and becoming thoroughly habituated in that way, the bodhicitta does not shift. This is also stated in the Hevajra:
"By thoroughly examining the vowels and consonants,
Speech is correctly explained as recitation."
Other functions are also taught: "Then, first, in the supreme vessel," and so forth. From "from the first vajra" up to "one should perform the vajra ablution," the connection is as follows. The "vajra" is emptiness; because it is the cause for being oriented toward that, the word "vajra" refers to the "black drink" or the "yogi's substance."
This is a case of metaphorically designating the cause as the effect; by means of that, one should perform the ablution. If one asks how it is done, it is said: "Having placed the lotus-hand," which refers to the left hand, as it is the one other than the right. Where should it be placed? First, in the supreme vessel. Here, "supreme" (mchog) has the meaning of supreme joy (paramānanda). For that reason, "intoxicant" (madya) refers initially to honey-wine and so forth. Regarding the vessel, it is according to the sequence of the oral instructions: by touching the two hands to the body. As for those instructions: first, taking a mere drop of the intoxicant and reciting the mantra of the Yoginī or the three syllables, one then, in the manner of the two hands embracing, starting from the head down to the toes, anoints the hands with the liquid of the intoxicant and, by touching the body with those very hands, performs the ablution. Alternatively, on the palm of the left hand is a five-petalled red lotus, upon which reside the mantras of the six Yoginīs, which are the nature of the six Yoginīs. Then, touching the liquid substance with the thumb and ring finger of the right hand and again touching the body is also the oral instruction. It is also said in the explanation: "Vajra" is great bliss (mahāsukha); by expressing oneself as being of the nature of great bliss, the meaning is that the mind is purified by that ablution. Alternatively, "Vajra" is the pola (the male organ), and that is what performs the ablution; having retained the bodhicitta through practice, even if it should fall, one should perform the ablution with it. Where is it washed? First, in the supreme vessel.
The supreme is the inexpressible form, and for that reason, it is the primary vessel. It is the source of phenomena (dharmodaya) that serves as the abode of all tathāgatas, and it holds great bliss (mahāsukha); the meaning is that it generates and abides in the coemergent bliss (sahaja-sukha). Through the knowledge of its method, the bonds of saṃsāra are severed. Accordingly, the Hevajra Tantra states: "Whatever binds the world, by that very thing, when combined with the method, one is liberated from the bonds of existence."
If one objects: "In that case, there is no connection between coemergent bliss and such a birth, for what has been born is not established as a permanent entity," we reply: although that is indeed unequal, it is nonetheless designated as worldly bliss. There is no fault in using a mere example of bliss based on the mere name of an entity. How is there no fault? Just as the first example of seeing something as being merely white is expressed, so too, in bestowing worldly bliss, one relies on an example to inspire confidence in the coemergent. As it is said: "The glory of conduct arising from the lake-born lotus, the great bliss taught by the Guru—those beings who desire to go there but do not realize it, are described by means of a mere example. Those who do not understand the well-composed speech, and who do not know the supreme other language, laugh like a person from a village living in the mountains; they understand the proof of their own imputed words."
Likewise, the venerable Āryadeva also said:
"Just as a barbarian does not grasp the language of others nor regard it as true, so too the worldly does not grasp or regard as true that which is beyond the world." Thus it is said. Just as for a woman who dreams of the birth, the staying, and the death of a son—the causes of her pleasure and pain—everything becomes false upon waking, so too, when one becomes habituated to this awareness, one first recognizes the coemergent and then enters into this very state in all things.
For example, a bird whose wings are not yet fully developed may wish to fly in the sky but falls to the ground; only when the skill of its wings is perfected step by step does it enjoy the sky. Likewise, the yogi himself should follow that example and, with a beneficial mind, maintain himself without falling from his own level. As it says in the Hevajra: "One should strive through habituation so that there is no separation."
What is this separation? It is the separation of body, speech, and mind; one should habituate them to the single bindu. How is this done? By the phrase "inserting the lotus hand," one begins by opening and closing the lotus from both sides with the thumb and index finger of the left hand. Thus, the Secret Sādhana of the Play of Vajrajoy states: "By grasping the two sides of the lotus with the two fingers of the hand, one performs the opening and closing; it is as clear as the sign of a horse." Alternatively, the supreme vessel is—
That which arises from the momentary bodhicitta, free from defining characteristics, is supreme. Therefore: "The first vessel is the jewel, placed in the hand of the lotus." Why is it called the "hand of the lotus"? It means that one should engage with the lotus of the wisdom consort, which is fully perfected with qualities such as being hairless like the palm of a hand. As stated in the Śrī Saṃvara: "Like the palm of the hand, upon the lotus." And in the Vajralāsyā Guhyasādhana: "Make it like the palm of the lotus-hand; shave the hair of the two hands' roots. Sit yourself upon the lotus seat; meditate on the mistress embracing the lotus." Thus it is said. In the absence of an external mudrā, one should perform the motion with the hands in the form of the lotus and the hand. Not only that, but "other than the right" refers to drawing the two winds that flow through the right and left [channels] inward and causing them to dissolve. Where do they dissolve? Into the state of great bliss. If one were to think that the bliss of movement is possible even with the drops bound by great medicine or with impure passion, then the nature of uninterrupted great bliss is taught as follows: "The bliss that exists throughout the three realms, even if all the men were gathered in one place, would not equal even a ten-millionth part of the bliss found simultaneously in the coemergent. Furthermore: 'That which arises from causes is small and perishes in an instant, causing suffering. How could that which is to be accomplished where it exists be the sublime bliss?'" Thus it is said.
In this context, it is not the same as that; rather, it is as stated in the oral instructions: "one should touch with the hand." The term śayam refers to the hand, the body, or sleep. Sleep is the cessation of consciousness and the sense faculties. The meaning of "cessation" is that, by not wandering elsewhere, one becomes certain in a single state; thus, it is the act of being oriented toward that tactile sensation. Alternatively, śayi refers to sleep, and by virtue of being similar to sleep, it is called "death." Death is the cessation of the winds, consciousness, and the sense faculties; it is the natural form of meditative concentration (dhyāna). It is the act of being oriented toward the touch of that [state]. As stated in the Hevajra Tantra: "Where death is bliss, that supreme bliss is called meditative concentration." Otherwise, death is a fabrication. Likewise, the Śrī Saṃvara states: "What is called 'death' is a conceptual construction; it leads one to the celestial realm (khecara)."
The instruction for this should be explained: because the movement and agitation of the winds transcend and destroy great bliss, one must strive intensely to overcome that very [agitation] through supreme bliss. As it is said: "Through prior training and the present, the excellence of manifest bliss is perfected. Since the mind has entered within, meditate on the accomplishment of desire." Furthermore, the Śrī Hevajra states: "Therefore, without meditating with the mind, one should meditate on all beings. Having fully understood all phenomena, meditation itself is the true meditation. There is no single supreme [object] among them; it is self-aware great bliss itself."
"From self-awareness, awakening arises; because it is self-aware, it is meditation itself." Thus it is said. Likewise:
"Eating is great bliss; sleeping is the cessation of consciousness and the senses. Praise, blame, fame, and gain—even conceptual thoughts—should be treated like the dust on one's feet. Like the conduct of a bhusuku, whatever the mind does, the movement of the mental faculty is thoroughly pacified by bliss. This was spoken with great compassion by the feet of the Three Perceptions; understand that accomplishment will be achieved whether one is sleeping, sitting, or anywhere else."
Other activities are also taught, beginning with "with the thumb" and so forth. This connects to the phrase, "having placed [the mantras] correctly upon the hand." How so? Regarding the "six lords of the heroines," the "lords of the heroines" are said to be Vārāhī, Yamī, Mohanī, Kṣobhaṇī, Trāsanī, and Caṇḍālī. The placement of the six mantras of these six yoginīs is as follows: Oṃ vaṃ at the navel; Haṃ yoṃ at the heart; Hrīṃ moṃ at the throat; Hreṃ hriṃ at the mouth; Hūṃ hūṃ at the head; and Phaṭ phaṭ at all the limbs. Regarding the phrase "having placed upon the hand," this refers to first placing them on the hand. As for "the thumb and the fingers," this means they should be placed on the left hand, starting from the thumb and ending with the little finger. The sequence is: Oṃ vaṃ on the thumb; Haṃ yoṃ on the index finger; Hrīṃ moṃ on the middle finger; Hreṃ hriṃ on the ring finger; and Hūṃ hūṃ on the little finger.
Phaṭ phaṭ is applied to the tips of all the fingers; the instruction is that the others are to be placed on the fingertips. Regarding the other explanation, it is connected to the phrase "to be placed on the limbs." Its limbs are the downward-clearing wind. Why is that? The "Lord of Heroes" or the "Hero of Mantras" is the nature of the glorious Heruka, in the form of the syllable Ha, residing in the wheel of great bliss (mahāsukha-cakra). His "Lady" (īśvarī) is the Blessed Lady Caṇḍālī in the form of a flame, residing in the wheel of emanation (nirmāṇa-cakra). Regarding the phrase "by the mantras," the term mantra is derived from man (mind) and trā (to protect); it is the form of that which protects the mind. "Six" refers to the six yogas, such as withdrawal (pratyāhāra) and so forth. As it is said: "Withdrawal, concentration (dhyāna), breath control (prāṇāyāma), retention (dhāraṇā), recollection (anusmṛti), and absorption (samādhi) are held to be the six limbs of yoga." Likewise, the Kālacakra states: "Withdrawal and so forth become the ten Lords of Victors; concentration is Akṣobhya himself. Breath control is the Sword-bearer; again, retention is the Jewel-holder with twelve aspects. The Outcaste Lotus-holder is recollection; absorption is the Wheel-bearer. Each is further divided into five, and then distinguished by A, Ka, and so forth. Withdrawal is the reversal of the ten objects and subjects within the body. Insight, discernment, analysis, joy, and the single-pointed mind of unwavering bliss are concentration."
Prāṇāyāma is the non-descending of the two paths, whereby [the winds] enter the fire of the central channel. The entry of the vital breath into the bindu is the destruction of the two movements and the holding of the mind as one. Whatever appearance of inner heat (caṇḍālī) arises in the body, through the recollection of space, the absorption (samādhi) is the reflection of wisdom-form by the power of unchanging bliss, the nature of which is insight and method. These become three types of practice for the various [practitioners] according to the divisions of dull faculties. Through the three mudrās and the three stages, by the power of the three movements, the conceptual deities [arise]. Thus it is said.
Furthermore, how is this so? By the phrase "having placed in the hand," the word kāra is used: ka refers to the wheel of great bliss, and ra means "to take." Thus, kāra refers to the vital wind (prāṇa). "Placed" means causing it to enter the central channel through exertion. As it is said in the Kālacakra:
"Whichever power, having ceased from the navel, rises like a stainless lightning bolt in the manner of a staff, travels by the play of suppressing the activity of the wheels at the end of the wheel's activity, and moves from the central channel. By the power of piercing the uṣṇīṣa, it touches the outer skin in the manner of a needle. That wind which enters the poison should be made to enter the path of emptiness by supreme power. Having pierced the uṣṇīṣa, the dual winds are blocked and proceed to another palace. Thus, by the power of the vajra, the mind endowed with the object goes to the celestial realm (khecarī)."
Furthermore, it is said: "The yogi, by means of the nature of the five superknowledges, becomes [one who perceives] these various objects." If one asks how and where this is done, it is said: "The thumb and the fingers." Here, the "great thumb" is the vajra-utthāna (the rising of the vajra). Regarding the term aṅguli, aṅga refers to the elements, and guli refers to that which causes them to dissolve into it, which is samā. Through the union of these two, there is no emission whatsoever. In this regard, the instruction of the Lord of Heroes (Vīreśvara) shall be explained: "By the term vīreśvara: the form of vī causes [the drop] to ascend; the form of i is stirred by the wind; repha is the striking of fire; and īśvara is the essence of all bliss." Focusing on this very point, it bestows the bliss born from the mudrā who possesses the wisdom-body of the causal caṇḍālī. My Guru says that this symbolizes arising from the bindu.
Desiring to illustrate these through an analogy, it is said: "Place the drink in an even vessel; light a lamp in the center. By covering it from above with a jar, the waters from below are drawn up." By striving in the nature of this, one bestows unchanging bliss; thus, the yogi should familiarize himself with the innate nature (sahaja). Where is this taught? In the Ṣaḍaṅgayoga: "The movement of the bodhicitta after it has changed is inferior; flowing without declining is middling; and moving without declining at all is supreme." Here, the karmamudrā bestows the bliss of change.
The wisdom mudrā bestows unchanging bliss, and the mahāmudrā bestows utterly pure bliss. As it is said:
"Just as the fruit of a poisonous tree,
Or the fruit of the plantain trunk,
The cause, through the power arising from the fruit,
Destroys the very form of the cause."
"Through the great bliss of the Joyous One,
And the instructions on inner heat (caṇḍālī),
She is the goddess Nairātmyā,
Called Vajravairocanī."
Furthermore, the term "caṇḍālī" should be explained in another way. In connection with the statement, "The mantras are to be placed upon the body," the word aṅga refers to the body or its limbs. Aṃ refers to the form of the goddess residing in the emanation wheel (nirmāṇacakra) in the shape of the syllable aṃ. Ga refers to "going," which is the downward-clearing wind (apānavāyu). "Place" (nyāsa) means to cause that [wind] to move upward.
If one asks what is done [by this], it says, "having placed the hands." "Hands" refers to two; by the term "two hands," the two moving winds are meant. "Placing" means the sense of blocking those two. Likewise, the Hevajra Tantra states:
"The footprint is the maṇḍala;
Because of pressing, it is called a maṇḍala.
The movement of the hands is the mudrā;
The pressing of the fingers is that very same thing."
Alternatively, there is also birth from the releasing of the downward-clearing wind. This source text [teaches] that by first abandoning the movement of the winds as previously explained, one enters into great bliss.
It is said: "By stabilizing the winds, all purposes are accomplished." Likewise, from the Śrī Kālacakra:
"When the life-force enters the center together with the sun, it abides having bound the right and left [channels]. When the mind is thoroughly joined with the mudrā, the vajra is raised in the supreme state of bliss. In the lotus, the sound of the vajra or the water-born [lotus] is stirred by one's own hand for the sake of bliss. By not emitting the seed, the fear of death is destroyed; this is the very face of the glorious guru."
Furthermore:
"When the winds are in the life-force, the body is the bindu. Through the mind that is certainly immovable, one is liberated. When these three are joined as one, they are renowned as the instruction of the three."
If one asks, "Where is this performed?" it is said: "The great thumb and the fingers." Here, "thumb" is aṅguṣṭha. Aṅga means the body, and ṣṭha means abiding in that; thus, it is the vajra abiding in the body. "Great" means that it has been raised. "Fingers" refers to the aspect of the refined essence. "Endowed" means that through the union of those two, there is the sense of unchanging stability.
As it is said:
"For one who engages with insight, there is no bliss when the moonlight falls. When the flowers fall in the springtime, how could the fruit of the season possibly exist?"
And likewise:
"Through all applications with the action-mudrā, whatever falls into the lotus, it is like a fool who desires the fruit after plucking the flower that was intended for benefit."
From the Vajraratnasaṃbhoga-guhyasādhana:
"By churning the ocean of the lotus, those who desire the innate nectar..."
"The black poison of the time of separation, whatever has not arisen, should be treated likewise." Thus it is said. "Six" refers to the six consciousnesses, such as the eye-consciousness and so forth, which are possessed of internal engagement. As for how they are possessed, it is by means of the mantra of the Īśvarī of the Hero (Vīra). The "Hero" is the Blessed One (Bhagavān), and his "Īśvarī" is emptiness (śūnyatā). The mantra of these two is employed as the means of protecting the mind. Alternatively, the "Īśvarī of the Hero" is emptiness, and its "means" is the mantra. The meaning is that emptiness arises through that which has become its means.
Furthermore, another subject is taught: "Thereafter," and "the vessel is even," being connected [to the previous]. Thus, "born from excellent pigments" means: "pigment" refers to lead (śa-tse); "excellent" refers to copper; and "combined" means the two of these mixed into one. "Born from action" refers to the bronze produced therefrom. The "vessel" is the substance of a mirror, and "even" means it is free from black spots and irregularities. If one asks what it should be smeared with, it says: "fresh powder born from lead." "Born from lead" refers to sindūra. "Powder" refers to that substance. "Fresh" means unmixed with anything else. Furthermore, "fine cotton cloth" refers to cloth woven with fine, even threads. "Gently strained and spread" means not quickly. Furthermore, on a red cloth, one should form the shape of a palanquin (dolī), pour the sindūra into it, and then the sequence of moving it slightly with the fingers. If one asks where that should be done, it says: "upon the Vajradhara."
"Vajra" refers to the intoxicant, and one who holds it is called "Vajradhara." "Above" means above that place where the intoxicant is located. Regarding the other explanation to be given, from the words "thereafter" up to "equal vessel," the term "vessel" (āmatra) is used. In this context, "ā" refers to the suffering of disease—namely, the diseases of wind, bile, phlegm, and their combination. "Tra" means to protect from that; thus, "āmatra" is great bliss (mahāsukha). Alternatively, it refers to the state of being a special locus. By the term "āmatra," it is the vessel of the nature of great bliss, which is applied thereafter. "Equal" (sāmya) refers to the very nature of all phenomena. Regarding the phrase "from the application of excellent pigments," the term for "well-prepared" is raṅgāruṇa. In this, raṅga is white lead, or alternatively, raṅga is the bodhicitta accompanied by desire. Āruṇa and "excellent" refer to the form of blood, the nature of the red Amitābha. The meaning of that which is born from these two is great bliss. If one asks where that is expressed, it is "above Vajradhara." In this regard, the term vajradharopari is used: vajra is the vajra, and dhara means to hold or a mountain. It is a place not to be traversed by anyone, yet it is the site for attaining that very state. Upari means above, at the peak, where great bliss dawns. Regarding the word "powder" (cūrṇa), if one asks whose powder it is, it is "born from lead," which is the term bhujagabhava.
Bhujaṅga means a snake, and the poison produced from it. Therefore, the object is poison, and its cause is torment. Likewise, from the Śrī Hevajra: "In that way, for those who desire cyclic existence, the fivefold qualities are themselves jewels; through impurity they become poison, but through purity they become like nectar." And from that same source: "Having rendered poison non-toxic through purity, these very things to be relied upon are to be relied upon." If one asks how that is so: "purity" means perfectly pure; this is the very nature of the object, which is the form of great bliss (mahāsukha). However, that which has become like poison through ignorance is the application of the form of the coemergent (sahaja). "Cotton cloth" (seng ras) means, in actual fact, that which is soaked in cloth; "slowly" is taught in the sense of being well-stabilized. Alternatively, bhujaṅga means "charming" (śṛṅgāra); the desire produced from that is the meaning of being coemergent. It is that which joins one to the great bliss of having abandoned worldly attachment. Alternatively, "produced from lead" refers to something like vermilion (sindūra); the meaning of "powder" is the flavor of great passion together with attachment. Regarding the other activity taught, from "there" and so forth up to "write the mantra garland," the connection in meaning is to write the mantra garland of the Blessed Lady. If one asks how to do it or how to draw it: "having drawn the wheel," that is the "heart of the heart" of the Victorious One.
"Victorious One" refers to Akṣobhya, who is the very form of the heart-mantra of the four Tathāgatas, such as Vairocana and the rest; he is the Blessed One, the glorious Heruka. The source of phenomena (dharmodaya) is the heart-mantra of that [Heruka], and its nature is the wheel. Regarding the phrase "the crested one is the cornered": the "crest" is blazing fire. That which possesses it is "the crested one," which is fire; and since fire is threefold, it is a three-cornered wheel. "The crested one is the cornered" is expressed by the term śikhikoṭi. Śikhi means "possessing flames," which is fire, and that is threefold. Here, koṭi means "corner" or "peak"; in meaning, it is the three corners of the wheel. Regarding the phrase "therein," one should scatter vermilion powder on a mirror and write the mantra garland. Regarding the phrase "in its heart," it refers to the very heart of the source of phenomena drawn upon the surface of the mirror. If one asks with what it is written: "with a stylus made of gold." This means one should hold a golden stylus in the left hand and write; this should be understood either from the preceding verse or as the oral instruction. The oral instruction is to be stated as follows: first, at the center of the source of phenomena, one should draw the form of the Blessed Lady in the aspect of the syllable Bāṃ, together with the crescent moon, the drop (bindu), and the nāda. Then, in the center of the source of phenomena, one should write the King of Mantras of the Blessed Lady according to the extraction of the mantra from the three garlands, which correspond to the number of the [three]—Kāma, Rudra, and Muni—as the purity of body, speech, and mind.
Furthermore, this is taught in the context of the erected wheel: the syllables ha and a, which are the nature of the Blessed One and the Blessed Lady, completely transform. Thus, beneath the garland of non-dual purity, upon the syllable baṃ, the form of the final letter ha should be drawn. Alternatively, it is also a tradition of the oral instructions to write oṃ at the base of the source of phenomena (dharmodaya), and then, following the sequence of the lines of the source of phenomena, to write three mantra garlands extending outward from its base, with baṃ in the center. Regarding the other explanation, it says "write the mantra garland in its heart," which means writing the mantra garland in the central channel at the location of the source of phenomena; this signifies being pervaded by the form of the immutable.
Moreover, because the drop (bindu) and the wind (vāyu) have become unified, they protect the mind, and thus it is called "mantra" (mantra). The meaning of the mantra that proceeds to great bliss is called a "garland" (mālā) or a "path" (mārga); by the term "mantra garland," the central channel is expressed. If one asks how it is drawn, it says, "with a stylus made of gold." In this context, the word gaṅgā is used: the letter ga signifies four things. It is the source of phenomena (dharmodaya), and gā means "to go" there. Gaṅgā is the stream of nectar that descends from the peak of Mount Meru. Thus, gaṅgā refers to the drop arising from that. Because it descends there, it is generated at the tip of the jewel. Here, the drop is like a stylus because it proceeds through the path of the central channel. "Stylus" (śalākā) refers to the very act of pervading through the opening of the central channel. If one asks how it is drawn:
Regarding the term "cakra" (wheel), it refers to the "quintessence of the Victorious One’s heart mantra." The "Victorious One" is Śrī Heruka; his "heart" is the form of the syllable Ha; and his "quintessence" is the name for the wheel of great bliss (mahāsukha-cakra), which abides at all times. "To be written there" means that it should pervade that [wheel]. Regarding "the crest-possessing corner," this is the term śikhikoṭikaṃ. In this context, śikhi is the fire of caṇḍālī, koṭi is its tip, and kaṃ is the head; the ṃ is the head of the Ha. One should meditate on the form of the Ha with its head pointing downward. The meaning of "its heart" is that it exists in the center of the wheel of great bliss. Alternatively, "to write the mantra garland" means to convey the stream of the bindu (drop) into great bliss. If one asks how it is conveyed, it is by means of the "golden probe" (suvarṇaśalākā). This is the term gaṅgeyaśalākāṃ; here, gaṅgā refers to the bindu, and because it causes one to go there, it is like a probe. Because it conveys [the drop], it is written in the central channel (avadhūti). If one asks how it is done, it is by "writing the quintessence of the Victorious One’s heart mantra." The "Victorious One" is Śrī Heruka; his "heart" is the unchanging bodhicitta; and its "quintessence" means that which is perfectly realized by the mind of great bliss. "Cakra" is that which cuts through all conceptual elaborations. Regarding "the crest-possessing corner," the "crest-possessor" is fire, and likewise, the "corner" is the fire that is like the tip of a flame.
It burns all the fuel of ignorance. Alternatively, it is extremely sharp, meaning it pierces. Other specific features are also taught, beginning with "of the wheel" and ending with "supreme auspiciousness." "Supreme auspiciousness" refers to drawing the auspicious swastika. If one asks where it is drawn, it is "on the exterior of the wheel," which means on the outer portion of the source of phenomena (dharmodaya). Then, if one asks where it is definitely to be written among the many locations, it is said: "In the eastern part, the north, the west, and the direction of the Son of the Radiant One." Here, "the Radiant One" is the sun, and its "son" is Yama; his direction is the south. "In sequence" means the order starting from the east, then the north, and so forth. "With the left hand, one should clearly draw" is self-evident.
Regarding the other explanation, "and the supreme auspiciousnesses," the term is sata-svastikam. In this, sata refers to "supreme" or "existent," while svastikam refers to the supreme swastika of bliss. Vasu means "excellent," asti means "existent," and kam means "bliss." Thus, because there is the bliss of excellence, it is the bindu. "Draw" means to arrange it or to pervade with it. If one asks where to place it, it is "on the exterior of the wheel," meaning on the outer portion of the wheel of great bliss. Furthermore, if one asks where that is, it is "in the east, north, west, and the direction of the Son of the Radiant One," which refers to the pores of the skin; the meaning is that it pervades the entire body. If one asks what symbolizes that, it is the "hand," which in this context refers to the wind.
The five fingers themselves constitute the hand; by means of these five, the five winds residing in the body are grasped. How so? "Left" (vāma); by the term vāma, it means "left" or "captivating," in the sense of being unmoved by others. How is it drawn? By the phrase "in sequence," it means gradually stabilizing or remaining unchanging, pervading all the pores of the skin.
Furthermore, another point to be expressed is stated: jaḥ hūṃ vaṃ hoḥ and so forth, which is connected to the phrase "having summoned the vajra goddesses." How so? Regarding "having summoned," from the mantra garland drawn with intoxicants, light rays in the form of hooks summon the goddesses from the abode of Akaniṣṭha by means of the syllable jaḥ. Regarding "having inserted into the letters," one should insert with hūṃ the mantra letters written upon the surface of a mirror. Regarding "binding," the mantra letters are to be thoroughly bound with vaṃ.
How are they summoned and so forth? By the phrase "uttering jaḥ hūṃ vaṃ hoḥ," this refers to the mantras for summoning, entering, binding, and pleasing. The meaning is that each of these must be performed preceded by its respective individual meditation. Regarding "having uttered" and so forth, the blazing mudrā and other gestures should also be understood. Furthermore, the oral instruction tradition states: "Pressing the foot and looking upward, proclaiming the sound pheṃ above."
As for the other explanation, "the vajra goddesses," it means the sense of pleasing by filling the body with caṇḍālī.
"Having summoned" means that the stream of nectar, which has gone upward and then descended, is caused to flow down. "Having thoroughly inserted the mantra syllables" means that the mantra is the bodhicitta; having caused the wisdoms of great bliss to dissolve into it unchangingly, it is moved into that form. Therefore, once the fully perfected result has been attained, it is illogical for it to remain in the form of the cause; this is the coemergent caṇḍālī itself, and it should be understood in that way. "Restrained" means that it is properly and thoroughly restrained within great bliss. "Ritual" means according to the oral instructions; by that, it is to be understood. Thus, "having uttered jaḥ hūṃ vaṃ hoḥ"—here, the meaning of these four syllables is to be learned from the oral tradition. Regarding the explanation of the offerings: "Thereafter, with the mantra," and so forth, is connected to the statement that one should then make offerings to that. To what? "To that which is the nature of the mantra"—this refers to the nature of the mantra, which is non-dual with the wisdom-being (jñānasattva), like water and milk mixed together. "Various kinds of offerings" refers to: "by means of food," such as cakes and the like; "by means of snacks," such as cooked rice and the like; "by means of things to be licked," such as honey and the like; "by means of drinks," such as vīrya (heroic liquor) and the like; "by means of the fourth," such as mangoes and the like. "Together with the five sensory qualities" refers to the enjoyment of the five objects of desire.
Furthermore, it is said: "Regarding the nature of the mantra," this refers to the nature of great bliss (mahāsukha). One should make the mind one-pointed through constant familiarity with the offerings to the goddess. If one asks by what cause this is to be done, it is by means of "food" and so forth. By relying on these here, strength increases, and from that strength, bliss itself arises. Regarding the phrase "together with the five sensory qualities," this means to definitely employ and enjoy the five qualities of desire. Alternatively, "desires" refers to the thirteen and "qualities" to the three; thus, by the term "qualities of desire," the sixteen shifts of the winds (vāyu) are expressed. By meditating on this at all times, the entity obtained from the stages of the winds is made to dissolve into great bliss. If one asks whether that is done alone, it is by means of "various strengths" and so forth. "Various" means of many kinds. "Strength" means meat. Alternatively, "various" refers to the meat of cattle, dogs, elephants, horses, and humans. "Together with intoxicants" means accompanied by drink. "Extremely sublime" refers to the most excellent substances. "Offering" means service and honor. "Fivefold" refers to form and so forth. "Song" refers to vajra songs and other songs of joyful play. "Music" refers to songs produced from lutes, flutes, and the like. "Dance" refers to the vajra-foot dance. "Circumambulation" means circumambulating that support. Prostrations and praises are likewise. Furthermore, it is said:
Regarding the phrase "various powers," this refers to the five aggregates of the nature of the flesh of cattle, dogs, elephants, horses, and humans, which are the identities of Vairocana, Ratnasambhava, Amitābha, Amoghasiddhi, and Akṣobhya; these are also made to dissolve into great bliss. Regarding the phrase "together with intoxicants," "intoxicants" is a form of pride, and it is of that nature. "Exceedingly sublime" refers to desire and so forth. "Offering" refers to the act of honoring the locus of sound; through the honoring of various objects, one brings them to a single taste in great bliss. "Fivefold" refers to the five, such as the eye-consciousness and so forth. "Song" refers to the self-arisen sound arising from great bliss. "Music" refers to the sound of the vajra. "Dance" refers to the yoga of meditative union. "Circumambulation" refers to the lotus moving the vajra and the circumambulation of expressive gestures. "Homage" refers to viewing with certainty in absorption itself. "Praise" refers to the laughter of "ha," "hi," and so forth. Alternatively, having understood that everything in that direction is of the very nature of equality, the meaning here is that one should familiarize oneself with the reality of great bliss through all of these. If one asks, "How should one act?" it is connected to the passage beginning with "every day" and ending with "perform the offering ritual as explained." Regarding the word "here," it refers to the goddess who is the nature of the mantra. "Every day" means constantly.
"Every half-month" refers to the tenth day of both the waning and waxing phases. "Every month" refers to the tenth day of the dark fortnight, for it is on the tenth day of the dark fortnight that the yoginīs assemble. "On the tenth day" means that the tenth is the lunar day of the goddess. "Desiring accomplishment" means desiring mundane and supramundane accomplishments. "Sublime" refers to the nature of the wise.
Furthermore, another explanation is taught: then, with the nature of great bliss, one should perform the ritual of worship for that form of the goddess as it has been explained. "Every day" means that by focusing on the very nature of the object of focus, in whatever way one focuses, in that very way great bliss is to be introduced. "Every half-month" refers to the side of existence and the side of non-existence. "Every month" means that both sides have become one; the meaning is that whatever arises from those two is joined within the state of great bliss. The Blessed One said: "Rely on the meaning, do not rely on the words."
"Desiring accomplishment" means that if one desires [it], "on the tenth" means that by the name of the tenth day, one desires the mastery of the tenth ground. "Lunar day" refers to the ten grounds; this is the lunar day of the goddess, which is ever-present at all times.
From the commentary titled The Explanation of Suchness, composed by the monk and scholar Vīryaśrīmitra of the great monastery of glorious Vikramaśīla, this is the ritual for external offerings.
Regarding the phrase "Then," and so forth: the connection begins from "Therefore" up to "the previously mentioned goddess." As for the "previously mentioned goddess," she is either the goddess who is the coemergent nature of the body itself, as previously described, or the goddess as previously spoken of by the Blessed One in the Śrī Saṃvarodadhi. "Great compassion" means possessing great affection for sentient beings. "Having performed the manner of external offering" means offering in the same way as when one has drawn [the deity] on the surface of a mirror externally.
If one asks, "Where should the goddess be visualized?" it is said: "On the emanation-spoked [wheel] and in the center." This means in the center of the lotus on the emanation-cakra. "On the form of the sun at the heart of the breathless" means "breathless" refers to being devoid of life, that is, separated from consciousness. "Heart" refers to the heart of that corpse. "Sun" refers to that which possesses the quality of heat, which is the sun. "On the form" refers to its maṇḍala. The meaning is to meditate on the sun-maṇḍala at the heart of the corpse.
Furthermore, another explanation is stated: regarding the word "goddess" (devī), she is called devī because she enjoys and sports in the flavor of great passion (mahārāga). Since that has been explained previously, it need not be explained here. "Great compassion" is the word urukaruṇā.
Kā is bliss, and ruṇa is to hold that; thus, kāruṇa is bodhicitta. Uru means great; it is the great, unchanging bodhicitta. Regarding the phrase "having performed the manner of external offering": here, by the term bāhya, bāhya means "to ascend," which is Umā. Alternatively, "external" refers to the mudrā who is the very wisdom consort (prajñā). "Having performed the manner" refers to the manner of generating bliss through the gateway of the central channel or the gateway of the mudrā. If one asks where that is to be visualized, it says: "In the center of the emanated lotus with spokes." This means that from the state of clear light (prabhāsvara), the three-spoked wheel emanated by the mind is the "emanated spoke"; it is the lotus in the center of the source of phenomena (dharmodaya). Regarding the phrase "the form of the sun at the heart of the breathless corpse": this means that at the heart of the corpse, upon a sun mandala, there is the meaning of illuminating with the wisdom arisen from the utterly pure dharmadhātu. "Through utter purity, the mind is the dharmadhātu; the sleeping corpse is the selfless, pure celestial palace. In the nature that is utterly pure and free from the four extremes, one has conviction in the essence of phenomena; therefore, at the heart of the corpse, there is the supreme, utterly pure wisdom itself. Through the light of insight, the sun mandala is the peak of majesty. In the nature of the utterly pure dharmadhātu, that which arises from it is the singular form of all beings." Thus it is said. Regarding the meditation taught, it is connected to the words "meditate on the goddess."
Regarding the phrase "the twilight hour of the color of the setting sun": this refers to the twilight of the evening sun, which should be understood as a dark red like the color of sindūra; it is the very nature of utterly pure desire. Regarding the phrase "a mass of light-tubes": "light" refers to rays of light that cause all other lights to appear dim. "Tube" refers to a specific type of extremely sharp [blade]. "Mass" means a multitude that is all-pervasive. Regarding the phrase "having overcome the splendor of the seven": this means the goddess has overcome the entire majesty of the seven suns. If one asks what that is like, it is "cutting through all the wretched," meaning she cuts through the suffering of all beings without exception. If one asks by what means, it is "holding a curved knife in the right," which describes a specific type of curved knife. "Emitting immeasurable light" means that because immeasurable, infinite, and boundless great light arises from it, it cuts through the afflictions of sentient beings without exception. "Holding in the right" means with the right hand. If one asks what else [she holds], it is "together with a banner," which refers to the khaṭvāṅga held on the left side. "Together with" indicates that she holds something else as well; "with the left" refers to the left hand. "Lotus-vessel" refers to a skull-cup vessel. "Extremely white" means it is stainless. "Holding it filled with blood" means it is filled with the blood of the four Māras and held in the left hand. Regarding "her head is bound": if one asks by what it is bound, it is bound by a garland of vajras and so forth. Furthermore, by the word kālya, it is black; alternatively, kaṃ is the head and āli is a garland.
Specifically, she is bound by a black vajra garland. In that context, the garland of the five skull-cups of the oral instructions is also to be understood. Alternatively, ka refers to the head and āli to the garland; thus, she is bound by a garland of heads. Regarding the term muktamūrdhahasta: mukta means "liberated," mūrdha means "upward," and hasta means "hand." This refers to the liberated hands having gone upward. Alternatively, mukta is "liberated," mūrdha is "hair," and hasta is "hand"; thus, there is also the sense of the hair being liberated and the hands being near it. Other specific qualities are also taught: "adorned with a garland of heads" means the body is adorned with a garland of human heads. "The mouth filled with blood" means the mouth is a lotus-mouth, and likewise, it possesses a stream of dripping blood. Alternatively, having consumed the blood of the four Māras, that stream drips downward. "Possessing the taste of the corpse" (ro-rasa): ro is "taste," referring to the six tastes of food. Here, indicated by the number six, "possessing eyes" (rasanetrayukta) means the eyes are also of six types. This is explained as each of the faces having three eyes. "The tone of liberation" (muktasvara): liberation is great bliss, and "tone" is possessing that. "The face that plows the earth" is the sow-face. "Looking upward" is the specific quality of being slightly tilted upward. "The root face" is that which is not an emanation. "Slightly wrathful" is the playful wrathful goddess. Regarding "fortunate" (bhāgyavatī): in the term varasubhagamānakrodhamūlānantaṃ, vara means "supreme" or "excellent."
Subhagam means "captivating." Manāgrodhā means "slightly wrathful." Āna refers to another face, the face of a sow. Nana refers to the face itself. Likewise, both faces are endowed with the term bhagavatī. Tam means "one should meditate upon her." With joy means her nature is that of great coemergent joy (sahajānanda). Passionate means her very nature is great passion. Possessing various moods means she is endowed with the nine dramatic moods (navanāṭyarasa), such as the erotic, because she completely eliminates all afflictions without exception. Dancing in the half-lotus posture means that, by performing the activities of a Buddha without exception, she is the very embodiment of dance.
"Sealed by mudrās" means that, regarding the mudrās, the Śrī Saṃvara explains that one is sealed by the five mudrās on one's own body: the necklace, bracelets, earrings, crest jewel, and sacred thread (brahmasūtra). Likewise, one's own body and limbs are sealed by the mudrās themselves. Similarly, the Śrī Saṃvara states: "Adorned with a necklace, bracelets, earrings, and a crest jewel, and with the sacred thread and ashes—these are renowned as the six mudrās." In this context, since the goddess does not have ashes, she is adorned with the five mudrās. Likewise, the Sādhana composed by the glorious Śavaripa states: "Adorned with the five mudrās." The wheel, the girdle, and so forth are the secondary mudrās (upamudrā).
She is also adorned by that. "Devoid of clothing" means she is naked because she has abandoned the two obscurations. "Sixteen years of age" refers to the nature of the moon that is completely full at the time of sixteen; alternatively, it refers to the time completely full of the sixteen joys. As it is said in the Śrī Kālacakra: "He who holds the cakra at the crown, this holder of insight, is free from the bliss of the fluid; at the uṣṇīṣa and the aperture of Brahmā, the supreme unchanging bliss is completely full of the sixteen joys." "Possessing the supreme body" means she possesses the qualities of union, such as being entirely soft and blissful. Furthermore, another activity is taught: "Having summoned the wisdom [beings]," and so forth. This connects to the intermediate phrase: "The mantrin, having summoned the wisdom [beings], should meditate on the svastika." "Having summoned the wisdom [beings]" refers to the summoning of the wisdom beings and so forth. The phrase "as before" means to act in the same manner as was done during the time of offering to the sindūra, as previously described. Furthermore, it is explained that making the world into the nature of non-dual wisdom is the meaning of summoning the wisdom beings. "The sequence of the ritual" is to be understood through the pith instructions. "Having performed" is the agentive case, which connects to what was explained above. "Auspicious" refers to the svastika. Regarding that, by the term svastika: su is "excellent," asti is "to exist," and ka is "bliss"; thus, it is the existence of excellent bliss, which is the bindu.
That very [state] is stirred or moved by the application of caṇḍālī; this is the instruction for the purification of the bindu. Likewise, from the Sādhana composed by Avadhūtipa:
"The sow’s face looks upward;
The svastika swirls rapidly."
Regarding this, the term svastika is derived from the word nandivarta. Nandi refers to the bindu, and varta means to revolve. Because the goddess, whose nature is bliss, delights in the play of coemergent joy (sahajānanda), it is the bindu. Its being stirred by the application of caṇḍālī is the very meaning of "revolving."
"Facing the forehead" means facing the forehead of the sow’s face. "Rapidly" means extremely fast; it is the application of revolving. "Revolving" means without interruption, revolving like a potter’s wheel. "One" means non-dual; it is established as a single entity. If one asks how, it is indicated by the phrase "should be meditated upon," which connects to the preceding words.
The specific action is taught by the words "following that," and so forth. This connects to the statement, "following that, the wheel should be meditated upon." If one asks where it should be meditated upon, the text says "in the khaga element." Khaga is the sky, which is emptiness; thus, the opening of the goddess’s padma is the khaga. "Element" refers to its nature, such as the space element or the earth element. Therefore, the meaning is that one should meditate upon the heart of the goddess’s padma.
"In the hollow of the mountain of the triangle," as it says:
Because it has three corners, it is triangular. Regarding "mountain," it is said that it is a place not to be traversed by wool, or that even if some were to traverse it, they would fall. "Within the valley" means within that; one should also meditate on the source of phenomena (dharmodaya) within the heart of the goddess's lotus. "Cakra" means to act just as a cakra with a crest is drawn in the center of sindhūra. This should be understood by what is explained below. "Red" is like the bandhūka flower. "Blazing intensely" is like a blazing fire. "Swiftly" means it joins one to incomparable bliss. "Meditate on the cycle as previously explained" also refers to making it like the svastika mentioned above. Its specific qualities are stated in the words "excessive" and so forth; furthermore, "by the excessive force of the cakra" means by a fierce force. "Abiding as if stable" means to meditate as if remaining in a state of stable, unmoving measure. Regarding that, the instruction is found in the following verse, which is a phrase to be known and observed from the outside: after meditating on the cakra, it is the nature of meditating on caṇḍālī. Thus, it is said: "Like a lamp without wind, unmoving and clear"—in that way one meditates on caṇḍālī. By the phrase "should be observed," it should be understood in that way. Here: "Like a lamp without wind, unmoving and clear."
If one were to argue that such passages and others are instructions for meditating on the cakra (wheel) through the gate of specific non-realization, then the terms "blazing intensely" and "clear like a lamp" would be synonymous, resulting in the fault of redundant repetition. Therefore, this is explained as the meditation on caṇḍālī (inner heat) itself. Furthermore, this second explanation is a specific feature of the meditation on the caṇḍālī of the Blessed Mother; this is the system of the pith instructions. These two are of inferior pith instructions and are to be abandoned as objects of explanation. Otherwise, from the perspective of the mere conventional, the yoga of caṇḍālī is not explained here. Alternatively, there are also explanations in which the cakra itself is described as the nature of caṇḍālī. In that case, everything having become the cakra, there is no yoga of caṇḍālī from any other perspective; therefore, having set that aside, caṇḍālī is explained.
If one asks what the nature of caṇḍālī is, it is by the words "having melted" and "without wind, unmoving" that it is caṇḍālī itself. What is melted? By the word "great bliss," it is melted from the cakra of great bliss. "Bathing by the dripping of the nectar-drop" means that one should bathe by the stream of nectar arising from the cakra of great bliss and pervading everywhere. "The three bodies" refers to the nature of the dharmakāya, saṃbhogakāya, and nirmāṇakāya. "The essence" means that these are also of a single nature. "Supreme" means the uncommon identity. "The identity of the coemergent" means being completely filled with great bliss.
"Pervading the world" means being devoid of characteristics; it is "pervading" because it is not other than that. Alternatively, "world" refers to bliss, and "pervading" means being pervaded by it; thus, the world is pervaded by the nature of the coemergent (sahaja). "Radiating as the cause of immeasurable bliss": "bliss" is coemergent joy; "immeasurable" means without limit; "cause" means uninterrupted; and "radiating" means establishing others in it. "Facing west" refers to the practice of looking toward the west at the time of meditating on the goddess. "Afterwards" refers to the goddess abiding in the form of the syllable vaṃ at the emanation wheel (nirmāṇacakra) in the manner of a crescent moon, a drop (bindu), and a nāda. Upon the line that has been severed in the form of the nāda, there is the syllable vaṃ; this is the tradition of the oral instructions (upadeśa) explaining that one should meditate here on the specific qualities as described above. Furthermore, in the form of the nāda, the Blessed Lady (Bhagavatī) pierces the two upper wheels. Having become the nature of great bliss itself, she strikes the auspiciousness of the nature of great bliss and returns. Having gone to the wheel of great bliss, her great blazing is like a porous jar filled with butter being melted; by the stream of the melted bodhicitta, the nāda-nature is also bathed, and at the time it becomes clear, the goddess is also meditated upon as inconceivable bliss—this is the distinction. Other explanations are the same as those previously explained for the inner heat (caṇḍālī); it is a distinction of the wheels.
First, the specific characteristics of the cakras should be contemplated as supreme. Therefore, the cakra itself is great bliss (mahāsukha); it is the entry into the nature of the bliss of that melting. Here, it is not from the cakra of great bliss at the crown of the head. If one asks where the phrase "by the dripping of the nectar-drop" is to be applied, it is applied to the very blazing of the inner heat (caṇḍālī) residing below that. Through the power of the yoga of inner heat, a supreme passion is generated by means of the application born from it.
For example, just as a red color arises from the concentrated power of the gola fruit and so forth, or an exquisite flavor arises from the power of pressing sugarcane and the like; just as fire arises from the power born of churning wood and so forth; just as a child and so forth arise from the power born of the union of two; just as butter arises from the power born of milking milk and so forth vigorously; just as the power born of stirring butter and so forth with fire produces the separation of the essence and the dregs, with the latter becoming the lower part; just as light arises from the power born of boiling and pounding earth and so forth; just as intoxication arises from the power born of transforming grapes and so forth with medicinal substances; and just as summoning, binding, and so forth are performed by the power born of mantras and so forth—likewise, by meditating in that way, the illustrative examples and their meanings will arise in the continuum of all [practitioners]. If one does not meditate, one remains in the vehicle of the hearers (śrāvaka).
There is no difference between the two Great Vehicles; here, even the root of the oral instructions becomes as if rootless. Likewise, it is said:
The vajra and lotus are perfectly joined;
One should press upon that lotus.
From the gradual churning,
Bliss is produced in harmony.
The mountain is the continuous descent;
The blazing power arises as the five bhaṃs.
The power of boiling is the blazing;
The medicine of great passion for women.
By the power of the summoning wind,
Why would great bliss not arise?
Through the fault of not meditating,
The cause will be impaired.
Then, for the sake of liberating all sentient beings, the Blessed One
Spoke this purity of the Mother’s nature. Likewise, from the Sādhana called Ajita, my guru spoke of the purity of sindūra and so forth:
With sindūra on a mirror,
One pleases the face of the Sow.
Regarding the form of the inner goddess,
Such is the primary offering.
Holding the intoxicant in the lotus,
The vajra is the indivisible wisdom.
In that, the sound of the Vajra-Holder is expressed;
By the sound above, that very reality is supported.
The surface of the mirror is the stainless mind;
The purity of passion is born of lead.
Arranged and smeared on the outside,
Or else upon the inner dharmodaya.
The seed syllable, the unchanging mantra, is to be written;
The mantra garland protects the mind.
Writing with a golden needle,
The clear central channel is well-expanded.
From that, the wisdom born free of defects—
She is the one whose form is utterly pure. To the self that has abandoned all habitual tendencies, the yogi should please her. By this [form] adorned with human heads as limbs, the purity of the āli and kāli is blocked. By the nature of great bliss, she is described as possessing blood. Alternatively, the blood dripping from her mouth is the drinking of the blood of Māra. The root face is the ultimate, while the sow face is the conventional. The root face has three eyes, which are the purity of the three times. The sow face also has three eyes, which are the thorough knowledge of the two truths. By the upward movement of the bindu, this is the hair released upward. The loose locks pervading the body are bliss; black is the purity of the space element. Just as one goes after being released from instructions, so too, by abandoning habitual tendencies, the goddess has a slightly wrathful face. "Fortunate" indicates bliss. Because it cuts through the conceptualizations of existence and non-existence, it is the curved knife. The extremely sharp [knife] is held in the right hand; the supreme light is sharpness itself. The utterly pure bodhicitta is the skull cup filled with blood. Through the passion of utter purity, the union is thoroughly applied. Alternatively, the human skull, the single taste of great bliss and great compassion, filled with blood, is held in the left hand. The bindu flows from the left. The mouth goes to the channel, the khaṭvāṅga; the khaṭvāṅga is said to be the bindu. The banner spoken of therein is the sign of the Yoginī. The Blessed One is the lord of the five.
Through the expansion of the five drops themselves, the wheel of great bliss is encircled; this is the skull-cup residing upon the head. Because it makes bliss indivisible, the wheel of bliss is the Tathāgata. Adorned with this vajra garland, it resides upon the crown of the head. By moving upward into the stainless drop, the root of ignorance is extracted. Because it is the nature of the conventional drop, conventionally it is the face of a sow. Through the great passion arising from that, when it merges with the flavor of great bliss, that is the ultimate itself; thus the root face is red. When one looks with eyes closed, the sky appears red; thus the goddess is red. Other gurus speak in this way. The form arising from the source of phenomena (dharmodaya) is the seed-syllable free from afflictions. Because that is taught as the wheel, it causes the collection of conceptual thoughts to perish. If one asks when these are to be meditated upon, it is said "every day" and so forth; "every day" means meditating without interruption. "Each session" means meditating in four sessions. "As much as one has leisure" means according to the opportunity. "Until the accomplishment is seen" means to persevere until the signs have arisen. Regarding the object of meditation, it is said "it should be clearly described," meaning the yogi should describe whatever signs of the generation stage are present. What are those signs? From the words "without effort" up to "at that time, one is close to accomplishment," they are connected.
Therefore, "the state of being close to accomplishment" means that it will be swiftly attained before long. If one asks, "At what certain time?" it is said: "When, through this meditation, it becomes clear..." Here, "when" refers to the time. "Through meditation" refers to the agent. "Becomes clear" refers to one's own continuum. "At that point, without effort" means that it engages spontaneously without exertion. Furthermore, if one asks, "In what manner?" it is said, "by the joy of the born," which refers to the great bliss concordant with that. "Impulse" means being bound by the force of joy in that regard. "Concomitant" means simultaneous. If one asks, "At that point, how much occurs?" it is said, "by being struck with a whip and so forth," meaning by being struck with a whip or with the palms of the hands. By the word "and so forth," it includes being struck with the feet and so on. "Not feeling harm" means that even if the body is struck to that extent, one does not feel any pain in one's own body. At that time, one is "close to accomplishment," which means being near to attaining the siddhi.
The second sign is taught: from the words "the great drum and so forth" up to "having attained supreme awakening." If one asks, "When do those occur?" it is said, "the great drum and so forth," which refers to the great drum itself, the mṛdaṅga drum, the clay drum, and various types of musical instruments. "The sound of being struck" is proclaimed as the resonance. The word "of" refers to the sounds arising from those. "Does not become an object of clear hearing" means it does not become an object of the auditory faculty. "When" refers to that very time. "In a dream" means that other sounds also occur in that way in dreams.
By meditating in that way, even in the dreams of sleep, the yogi will experience the accomplishment of being cared for by the goddess. Furthermore, by the yogi meditating on the Bhagavatī, Vajrarati will captivate the mind, and sleep will dissolve into the absorption of great bliss. Alternatively, it means that the signs of the goddess appearing clearly in dreams will arise, and that very accomplishment will occur. "Unsurpassed" means that there is nothing higher. "Supreme enlightenment" refers to the nature of coemergent bliss, which is the pinnacle of all things. "Having attained" refers to the signs. "Before long, the meditator will achieve the supreme accomplishment" refers to that individual. Having seen the signs of accomplishment has already been explained. Regarding the specific location, it says "haunts of spirits" and so forth; here, one should practice continuously from the abode of the wise. In connection with this, "wise" refers to one who possesses the character of a scholar. "From the abode" means abiding with a mind in meditative equipoise; having performed the application of the generation stage together with insight, one should then perform the yoga of the completion stage. This is connected to the instruction to "become habituated to the inner yoga." If one asks how to do this, it is by "seeing the signs of accomplishment." Once the signs of accomplishment are known, one should act. As for the location: "haunts of spirits" and so forth; "haunts of spirits" refers to charnel grounds. "Mountain ranges" refers to mountain forests or the midst of mountains.
Regarding the phrase "the root of the tree," this refers to a solitary tree. By the word "and so forth," one should also understand mountain clefts, remote hermitages, and the like. Furthermore, regarding the phrase "the abode of spirits," the term vidyāvāna is used: vidya refers to the Vajra-Holder, and vāna refers to the "drop" (bindu), which is the forest of desire devoid of ordinary beings, the nature of great bliss. Alternatively, the term vidyāvāya also refers to a charnel ground, meaning the state of abiding in the emptiness and selflessness of the eight collections of consciousness.
"Far" (dūra) refers to a place not to be traversed, the center of the lotus. "Land" (deśa) refers to that which is covered by skin, the essence of that [lotus]. "Tree" (druma) refers to that which brings or causes water to flow; since it brings or causes the bodhicitta to flow, the one who holds it is the Vajra. Alternatively, it refers to the central channel (avadhūti). "Root" (mūla) refers to meditating by making the mind one-pointed at its root. By the word "and so forth," one also holds [the mind] at the waist and the tip of the jewel. "To be made uninterrupted" means to do so without interruption; this is the meaning of meditation.
Regarding the qualities taught in that way, it is said: "If accomplished," and so forth. This means once the application of this [practice] is accomplished. Regarding the phrase "the earth-holder and so forth," the great elements such as earth and so on also dissolve into one another. "In sequence" and "gradually dissolving further and further" means that the five elements dissolve one after another in successive order. As it is said: "The earth element enters into water."
Water also dissolves into fire, and fire into the subtle element. Wind dissolves thoroughly into the mind, and the mind enters into mentation itself. Mentation dissolves into ignorance, and that too proceeds into the clear light. This cessation occurs in the three stages. Thus it is said:
The solidity of earth and the moisture of water are discarded, as is the heat of fire. Having abandoned even the movement of wind, from awakening it becomes awakening.
Likewise, it is stated in the glorious Hevajra:
"Earth, water, wind, fire, and space itself—by the feeling of natural awareness, none of these can harm for even a moment."
Alternatively, the nature of the winds flowing through the left and right channels is the nature of the maṇḍalas of earth and so forth. The earth maṇḍala enters the water maṇḍala, and through this sequence, they enter all the way up to the wisdom maṇḍala, which is the nature of unchanging bliss. Thus it is stated in the glorious Kālacakra:
"Earth enters water, water into fire, and fire enters the winds. Wind arises from emptiness, and the signs of emptiness become the ten aspects. The unchanging, supreme bliss always proceeds into the wisdom body in every way. O Lord of Men, in this very birth, from wisdom the accomplishments of miraculous power arise."
In that regard, one might ask: how does this occur for the yogi in the state of clear light?
At that time, the phrase "appearing like the sky" indicates a state as utterly luminous as an autumn sky free of clouds. "Luminosity" refers to the mind unstained by the impurities of defects. Furthermore, just as breath-mist on the surface of a mirror vanishes, the various appearances dissolve sequentially into the nature of the stainless mind; this is the meaning. "Becoming mere primordial wisdom" means that, like the cognition of a dream, there is only self-luminosity without the activity of an object of knowledge. "Becoming" refers to a nature that is uninterrupted. Regarding the description of the aspects of primordial wisdom, from the words "those" and so forth, up to "even the signs," and in connection with "to be realized," the phrase "to be known as signs" refers to the signs of the elements. "Even as signs" is what is explicitly stated. "In five aspects" refers to the five chapters. "By that knowledge" means that the yogi should know. "To be cognized" refers to those signs that have arisen. "For that very reason" refers to the absorption of emptiness. "Those" refers to what arises from that. "By the yogi's knowledge" means by knowing the characteristic of suchness. "In meditative equipoise" refers to the unwavering mind. "To be realized by the mind" refers to the supreme mind; otherwise, it is the concentration that has no object of consciousness. If one asks what the signs are, they are "the first" and so forth. Furthermore, "like the thirst of a deer" refers to the appearance of a mirage, which is the first sign.
Although it is explained in that way, one should understand the first sign as the appearance of smoke in the oral instructions. The mirage should be understood as the second. Because the mind is first fixed with certainty upon the sky-like [expanse], smoke first appears to the yogi’s mental vision; thereafter, appearances such as the mirage and so forth arise. This is also stated in the Śrī Kālacakra:
"With a mind entirely fixed upon the sky, those who enter the vajra path without blinking the eyes, from emptiness see smoke, mirage, the clear sky, the stainless [light], fireflies, and the lamp itself; the blazing [light], the sun and moon, and the vajra; and whatever supreme portion and reflected images are seen. In their center are the reflected images of the Buddhas, the manifold objects, and the saṃbhogakāya."
Furthermore, from the Six Limbs of Yoga: "In that regard, for the yogi, by fixing the mind upon the sky through the guru’s oral instructions, first an appearance like smoke arises. At first, the mirage is not seen, but it becomes known to one’s own cognition. In the second [stage], the mirage is then seen. Thereafter, having abandoned conceptualizations such as smoke and so forth, that is the 'close approach' itself."
As it is stated in the Śrī Vajrapañjara: "Moment by moment it changes like a dream; then it is like an illusion. This is the cause of omniscience; it circles closely around the accomplishments."
Alternatively, by the phrase "like the thirst of a deer," these various appearances manifest to the yogi in the form of a mirage; the meaning is that they are understood to be like falsehoods. That is not, however, a deluded cognition.
Thus, the appearance is understood as such. Regarding the second sign, "having the aspect of smoke": through a cognition that is certain of the sky, the experience of smoke arises. Alternatively, in the provisional sense, all phenomena arise dependently, yet ultimately lack intrinsic nature. Just as fire is produced from a fire-drill through the effort of a person's hands, and smoke is produced from that fire when it is combined with wet wood, or like the appearance of a reflection in a mirror, dependent origination also lacks intrinsic nature. This is the meaning of the expression "like smoke" and so forth, which refers to knowing the various appearances as mere dependent origination.
The third is the sign of the third mark. "Fireflies" refers to how fireflies flash momentarily in the sky; likewise, from emptiness, there is a clear and vivid arising of the appearance of primordial wisdom (jñāna). The fourth is the stage of the signs. "It is clear like a blazing lamp" refers to the emergence of such a sign. Alternatively, "like a blazing lamp" means that forms and so forth are extremely clear and remain for a long time; yet, if the collection of conditions is abandoned, they vanish and cease to exist, which is a total degeneration caused by being influenced by non-virtuous spiritual friends.
The fifth sign is taught: "The fifth sign" and so forth. It is the clear appearance of the center of an autumn sky free of clouds, which is the very nature of primordial wisdom. It is a cognition that is not conceptually constructed, having abandoned the second type of conceptualization, and thus the fifth conceptualization arises.
"Such as that" refers to that sequence. "Having obtained the signs" refers to the five signs. "Mahāmudrā" is the Sanskrit mahāmudrā: mudrā means joy, and dṛ means to hold; mahā means great, which is the state to be attained. "Will be attained" means it will arise in this very life. Regarding the other activities, it says "if one wishes to arise" and so forth; this is connected to wishing to arise, accomplishing activities, and knowing the place. "If one wishes to arise" refers to that very yogi. "With the yoginī" means prostrating to the goddess. "Residing at the head" means residing at the crown of the head, which is the guru. "Bowing to the protector" means prostrating to the guru and the deity. "Uttering the syllable muḥ" means that after reciting the mantra in the form of muḥ, one departs; the meaning is that one should not perform other activities without having performed the request to depart. If one asks how to meditate at the time of performing activities, it says "having arisen" from that state of equipoise. "With the mind upon that very [reality]" means the meaning of discerning the reality of suchness through insight. "Accomplishing activities" refers to conduct during all intervals between sessions. "By the logic of yoga" means by knowing its application. "Always" means at all times. Regarding "the yogi should remain endowed with yoga":
Regarding the explanation: within the dharmodaya of the Blessed Lady, one first visualizes the dharmodaya-cakra with the syllable baṃ surrounded by the āli and kāli vowels and consonants in a blazing form. Then, the nāda of the baṃ radiates light as thin as a lotus fiber, emanating and piercing the three cakras—which are of the nature of dharma and saṃbhoga—and proceeding as a stream of cooling nectar to the gates. Having thus directed one toward great bliss (mahāsukha), this is described as the visualization for that yoga. The term yogayukta is a compound meaning "possessing yoga" or "engaged in the second [yoga]." Thus, "possessing" (yukta) is the explanation, as it is expressed as a single yoga. The tradition of my sublime guru is not like that; it also contradicts the sādhana of Avadhūtipa, which states: "By the yoga of the two mudrās, all the three realms will be accomplished." Therefore, "the yogayukta abides" means that one abides and relies [on the practice] through the union of the two mudrās at all times. This is the meaning of meditating on the goddess together with the cakras and the caṇḍālī. Alternatively, through the purity of cause and effect, one should perform the two yogas of caṇḍālī here; one should meditate by seeing it in that way. This is called "the explanation of suchness" (tattva). This is the ritual for meditation from the commentary on the Tattvajñānasiddhi.
Regarding the instruction for taking disciples, it is said: "By the disciple," and so forth, up to: "the mantrin should take [them] under his care."
In connection with this, the disciple performs the maṇḍala and offers it to the guru. "At the lotus feet" means touching the lotus situated beneath the feet. "With longing" means possessing devotion. "Having made the request" means having petitioned the guru. "Having requested many times" means three times or more. "By the mantrin" refers to the guru. "At the time of the tenth day" refers to the tenth day of the dark fortnight; otherwise, it is intended as a time other than that. This dark fortnight is praised because it is the nature of focusing on the yoginī. "Those" refers to the disciples. "To be taken" means by the guru. If one asks what the guru should do, from the words "having performed the yoga" and so forth, up to "having fully taken," it means that by performing the yoga—possessing the union with the consort who is the nature of wisdom, whether outer or inner—one first drinks a small amount of intoxicant. Having made the mind courageous by that, the yoga is the union with the insight that clarifies the meaning of emptiness, in which all conceptualizations have gone far away; the supreme joy born from that is the system of the oral instructions. "The nature of the mantra" refers to the nature arising from the extraction of the mantra. "The wheel of the goddess" refers to that which resides in the triangular wheel drawn on the surface of a mirror together with sindūra. As it is said: "In the center of a three-petaled lotus, having smeared it with dust-free sindūra powder, facing toward the nature of the mantra..."
Furthermore, when the guru has arrived with the offerings, [the text says]: "This is the speech of the sublime guru." It is from the Sādhana-nāśana (The Unassailable Means of Achievement). By the word "self," it refers to that very mantra. "Having made offerings" means making offerings to the goddess. "Having performed the recitation" means consecrating with the three syllables. "First, the supreme" means that, for the purpose of pleasing the disciple with intoxicants, one takes up one's own vessel and goes outside to perform [the rite]. "Having taken up" means holding it in the hand. "Then" refers to the tradition of the oral instructions (upadeśa) regarding the performance of the five maṇḍalas. Otherwise, according to some lineages, one views the five maṇḍalas as the five tathāgatas, and having made offerings to them, the disciple is placed elsewhere. "Having offered the fee" means offering grain, gold, male and female servants, and even one's own body, thereby relinquishing the grasping at a self. "Standing before" refers to the disciple and so forth. "Holding a flower garland" means joining the two hands in añjali and slightly opening them to hold the flower garland. "The disciple's head" is easily understood. "Having meditated on the Protector" means meditating on the guru upon the crown of the disciple's head, who has been visualized in that way. "The guru should look" is for the purpose of performing the descent of jñāna and so forth. Other actions are also taught: from the words "After that" up to "the guru should apply the intoxicant to the disciple," the connection is established. "With the goddess as previously described" refers to what was taught before. "Blazing rays of light" refers to the very object of meditation.
By the term "cakra," the triangular sindūra wheel of Kālacakra is meant. By "possessing force," it is meant to rotate violently. "In the body of the one who is present" refers to the body of the disciple. "Having contemplated" means that it is to be meditated upon. One should understand the instruction to contemplate the dharmodaya below the navel of the disciple. Regarding the verse beginning with "goddess" and "cakra," since the Guru did not speak it, it is not written; however, the instructions for the cakra and so forth shall be written. First, as for the offering with red flowers, it is taught that the cakra is to be drawn with the ring finger. Thus, it is to be described as having three corners. Together with the syllable baṃ, it is three finger-widths in measure and has the appearance of blazing. At the time of the sindūra, it is a three-petaled lotus; the number of mantras filling it is five (arrows) and three (fires). It is that which possesses the form of baṃ at the center. In the four directions, the four auspicious signs are to be drawn. Within the lotus of the glorious Vajra Goddess, inside the dharmodaya, the mantra wheel is exactly as described, also having three corners. By rotating intensely, it destroys ignorance. Regarding the ritual of descent, the Guru should meditate upon the disciple's lotus below the navel. That which is filled with mantra is also triangular; the system of meditating on it as having six corners is extremely inferior. Even if one draws a single goddess, it should be in the center of a three-petaled lake-born lotus on a thangka. Alternatively, when it is adorned with six goddesses:
This is also the case for the triangle, as it is seen in the second [chapter]. Alternatively, at the time of constructing the maṇḍala on the ground, it is said in the lineage: "On the six-petaled lotus, the goddesses are worshipped at the six corners. In the directions of the east and so forth, arrange the auspicious maṇḍalas." Thus it is said.
The characteristics of the descent of wisdom are taught: from the words "gradually" and so forth, it is connected to the statement: "For that disciple upon whom it has thus descended, the blessing of the goddesses will arise." "Gradually" means immediately after [the descent] has been secured. "For that disciple upon whom it has thus descended" refers to that very disciple. What are the characteristics? They are "the bristling of the hair" and so forth. "Bristling of the hair" means the hairs of the body standing on end. "Trembling intensely" means the body shaking without self-control. "Tears arising" means they flow naturally. "Falling" means falling to the right, left, and so on. "The nature of the arising of wisdom" means attaining the knowledge of the past, future, and present. "Will arise" refers to the disciple. It means that the capacity to ask questions about all things and so forth will emerge. Furthermore, "gradually" means that because the disciple has thus descended, the nature of awakening arises; this is the meaning of the arising of wisdom for that one who has descended. One must not perform the subsequent care of the disciple without the descent of wisdom.
Other activities are taught: from the words "thereafter" and so forth, it is connected to the examination of the disciple and the absorption of the guru. "Endowed with faith" means having conviction in the Three Jewels and the causality of actions, [and thus] in the Buddha and so forth.
This refers to the supreme habitual tendencies that assert sin, merit, and so forth as being truly existent. By the phrase "endowed with qualities," it means possessing many other excellent attributes. Regarding the line, "From devotion to the guru and the Buddha as non-dual," this means one should show proper respect for the guru and the Buddha as being inseparable. As it is said: "The guru is the Buddha, the guru is the Dharma, and likewise the guru is the Saṅgha; the guru is the creator of all, the guru is inseparable from Vajradhara." Here, because it is said "the protector is the head-mark," one should meditate on the guru in the place of Vairocana. By the phrase "with the vajra, of the yoginīs," it means having entered through this gateway. Regarding the line, "One should recite the samādhi, offerings, and mantras," the master should recite the sequence of the object of meditation, the offerings, and the mantras in order to please them. Regarding the prohibitions stated, from the words "faith and..." onwards, it is connected to the phrase "this should not be spoken." The meaning is that these should not be explained clearly. To whom should they not be spoken? By the phrase "those who are devoid of faith," it refers to those who lack faith in the guru and so forth. By the phrase "to the disciple whose respect has declined," it refers to that person who does not show respect to the guru and the Buddha. "Immediate conviction" means that qualities arise right now. "Utterly pure" refers to the authentic reality. "This yoga" refers to this very sequence. "Should not be spoken" is connected to the preceding text. The benefits are then stated:
The passage beginning with "Whoever" is connected to the phrases "from fears," "will become afraid," and so forth. First, the cause for the destruction of fears is stated: "Whoever is together with the mantra." This refers to the goddess's mantra together with the mantras of the six yoginīs. Alternatively, it refers to the worship of the triangular wheel completely filled with the mantra and sindūra applied beforehand. The goddess's wheel is that very same thing. The meaning is that whichever yogin performs the worship of the wheel of the six goddesses of the Blessed Mother.
What are the fears? Regarding the phrase "to him," it refers to that yogin. "The eight great fears" refers to the fears of lions, elephants, fire, and so forth. "Great sins" refers to the abandonment of the five acts with immediate retribution. "Misfortune" refers to being at odds with worldly people. Other benefits are also taught: "poverty" means the lack of wealth; "disease" refers to leprosy and the like; "old age" refers to being worn down by gray hair and wrinkles; "suffering" refers to physical harm; "mental unease" refers to the sufferings arising from the mind; "delusion" refers to the intellect that perceives what is not the Dharma as the Dharma, such as the view of non-Buddhists who claim that killing sentient beings leads to the higher realms; "conflict" refers to mutual strife; and "faults" refers to the stains of sin or, alternatively, the defects of the degenerate age.
"Afflictions" refers to desire and so forth. "Various torments" refers to the harm caused by various bhūtas, hungry ghosts, and the like. "Will become fearful" connects with the verses previously mentioned; it means that those [harmful things] will not occur. Other benefits are also taught: from the words "Whoever" up to "the eight accomplishments" and "will obtain," these are connected. "Whoever" refers to the yogi. "In the mind" means performing it with the mind focused on the heart mantra. "The secret mantra of the wheel" is as previously explained. "Having meditated" means according to the stages. "The words of cessation" means having abandoned verbal recitation. "One who recites" means mentally reciting the heart mantra, having meditated upon it together with the wheel. "The eight accomplishments" refers to eye salve, pills, and so forth. "The five superknowledges" refers to the divine eye, the divine ear, miraculous power in space, knowledge of others' minds, and recollection of past lives. "Likewise, qualities" refers to the ten powers, the fearlessnesses, and so forth; or alternatively, to the miracles, such as the eight qualities of the non-Buddhists. "Will obtain" refers to the practitioner. Furthermore, other benefits are taught: from "Every day" and so forth, up to "the face that rends the earth," which is connected with "whichever is meditated upon" and "will be victorious over death." In that context, "every day" means doing it at all times. "In each session" means doing it in the morning or at midday.
By the word "exerting," it means that offerings and so forth are performed without interruption. "Lion" refers to Viṣṇu. "The Seizer" refers to Maheśvara. "The Essence of Wealth" refers to Brahmā. "Death" means that one will triumph over death, which is difficult even for Viṣṇu and the others to overcome. The phrase "difficult to overcome" is to be understood as such. Furthermore, it is said:
"From the words 'together with the wheel' and so forth, up to: 'Whoever meditates upon this Vajravārāhī, for them women and so forth, and even the objects of accomplishment, will arise'—this is the connection. 'Together with the wheel' refers to meditating on the wheel filled with mantras in the center of the source of phenomena (dharmodaya). 'For them women' refers to charming young maidens and the like. 'Knowledge' refers to those who are like the objects of desire even for the gods. 'Diverse' refers to those skilled in the formations of grace, song, music, and so forth. 'Clothing' refers to special garments. 'Food' refers to rice and the like. 'Drink' refers to prepared liquor and the like. 'Wealth' refers to precious gems and the like. 'Grain' refers to rice, millet, barley, and so forth. 'Land' refers to ground from which a continuous stream of supreme wealth arises. 'Palace' refers to celestial mansions made of jewels and the like. 'Divine substances' refers to the sensory qualities and so forth even of the gods. 'Bedding' refers to thrones and the like adorned with the most excellent jewels. 'Seats' refers to thrones such as the lion throne."
Regarding the phrase "the implements for accomplishment," these refer to the necessary requisites such as horses, elephants, and so forth. The section titled "Explaining Suchness" is the ritual for receiving disciples from the Commentary on the Perfectly Established Wisdom of Suchness.
Then, regarding the extraction of the mantra and so forth, the phrase "Then" connects to the statement, "This extraction of the mantra shall be explained." Thus, "Then" refers to the period immediately following the descent of wisdom. "Vajrayoginī" refers to the goddess. The meaning of "her mantra" is that the heart mantra of Vārāhī is being manifested. Because it is like the heart, it is called the "heart mantra." "Supreme" means the principal. "In sequence" means arising in successive order. "From ear to ear" means it has come from one ear to the other. It is not something written down as a physical object. "In that manner" excludes any other way that is not the authentic tradition. "From mouth to mouth" means that, just as one lamp is lit from another, it is transmitted from the mouth of one guru to the mouth of another guru.
Regarding the statement "the wheel as previously described," and so forth, "Āli" refers to the sixteen vowel letters beginning with A. "Kāli" refers to the thirty-three consonants beginning with Ka and ending with Ha. This is connected to the instruction "it should be written." If one asks how it is to be done: "the wheel as previously described" means that this very [mantra] is to be written in the center of the previously described wheel, which is drawn in the form of a source of phenomena (dharmodaya).
By the word "such as" (lta bu), it is understood as merely the form of the source of phenomena (dharmodaya), and not as the previous wheel together with the mantras of the goddesses. By "of the gods" (lha'i), it refers to the nature of the winds. By "of the assembly" (tshogs kyi), it refers to the forty-nine winds. By "place" (gnas), it refers to the number, the grid. By "endowed with" (ldan pa) and "to be written" (bris), it means together with the syllables; the forty-nine grids are also to be written in the form of the source of phenomena. Thus, it is said in the Śrīsaṃvara: "All variety is in the source of phenomena."
"One missing" means the absence of the letter kṣa; since this is formed from the reversal of the two letters ṣa and ka, it is for that reason not mentioned here. "In sequence" means in order from the end. One should also write the sequence of the wheel as it arises from the oral instructions: "Moon, fire, arrows, and the Sage himself, / Holes, Rudra, and the sequence of desire; / By means of these grids, having made the form / Of the source of phenomena, arrange them according to the oral instructions."
As for the manner of writing the sources of phenomena: "First, in the nature of three lines, / As it exists above, in the center of the lines, / Likewise, there are six lines each. / This is from multiplying seven by seven; / The houses are to be written in a clockwise direction. / First, at the base is the letter A, / And the letter Ha becomes the center. / These three are the pure three qualities; / The winds are pure in the letters. / In brief, in the source of phenomena, / It is because the winds are intended to dissolve. / The goddess, whose nature is the letter A, / Is established in the root place. / The Blessed One, whose nature is Ha..."
"Heruka resides in the center," it is said. Regarding the extraction of the mantra, it is connected to the passage beginning with "Below jha," and so forth, up to "First, one should write three." If one asks why, it is because of the line: "Below jha and below ḍa, the locations are joined." This means the letter a is situated below jha, and the letter u is below ḍa. "Adorned by that which rests below ha" means that which rests below ha adorns the crown of the head. By the phrase "that which clarifies," the two letters a and u are joined to form the letter o. The letter m is placed in the position of the bindu (drop), and the crescent moon (candra-lekhā) is to be understood through the oral instructions. "First of all" refers to the meaning of writing the letter oṃ. "Three by three" means oṃ oṃ oṃ. "Supreme letter" indicates that it conveys a unique meaning. By perfectly joining the crescent moon and the bindu, the form of u, which is the nature of wind, is made to dissolve into the a of emptiness; this is the meaning of the sound and significance of oṃ, according to the tradition of the oral instructions. Reciting it three times signifies the unification of the nature of the three—body, speech, and mind. In this context, "clarifying" means making suchness (tattva) perfectly clear. Regarding the other explanation: "That which rests above bha and that which is situated above ca," and so forth. "Above bha is the letter sa," and "situated above ca is ṭa, joined with the location." This means that which is above ca is va, and "joined with that which is above ṭa" refers to the letter ra; thus, these are joined. "Write after that" means to write after the sa. "Supported below ṣa and together with that which is below ḍa," it is said.
Below the letter ṣa is the letter ba, and below the letter ḍa is the letter u; these are to be combined. "Supported above the śa, together with its seat" means that above the śa is the letter da, and being combined with that, there is the letter dha above the ṣa. "Should be written" means all of this should be understood. Furthermore, it is said:
"Abiding below li, together with what is below ña": below li is the letter ḍa, and together with that, the letter ā is below ña.
"After that, write what is above pa and below ṭa": above pa is the letter ka, and together with that, the letter i is below ṭa*; this is what is to be written after that.
"Together with what has reached above pha and below ṭha": above pha is the letter na, and having reached that, the letter ī is below ṭha.
"Between ha and ṭa, together with ai on the left": between ha and ṭa is the letter ya; ai is the letter e situated to the left, and it is combined with that.
Again it is said: "Abiding in the middle of sa and ca, and abiding below bha": between ca and sa is the letter va. Since the letter ja is below bha, "connected to the right of the abiding ṭha" means that since the letter ra is to the right of ṭha, it is connected to that; thus, it is joined to the ja below bha. "After that" means it should be written.
"Reached between ha and tha": between ha and tha is the letter va. "Supported to the left of ta": to the left of ta is the letter ṇa. "Situated between ṭha and la, write it from the outside": between ṭha and la is the letter ra; "write it from the outside" means it should be placed as a subscript.
Again it is said: "The end of all chas and the middle between pha and a": the end of all chas is the letter āḥ, and between pha and a is the letter na.
Regarding the first of the third class, "connected from the left," the first of the third class is the letter ṭa; to its left is ī, and it is endowed with that. "Endowed with ṇa below la and above" means it is situated below la and is endowed with that; ṇa is endowed with the letter e above it. "Situated above ca" means the letter va is above ca. "Endowed with ṭha to the right of bha below" means the letter ja is below bha and the letter ra is to the right of ṭha; these are to be written. Furthermore, it is said: "Endowed with ta above and situated below ṣa" means the letter va is below ṣa and the letter ai is above ta, and it is endowed with that. "Endowed with ṭha above and below ṇa" means the letter ra is below ṇa and the letter o is above ṭha; it is endowed with that, which is from the outside. "Supported below pha" means the letter ca is below pha. "Endowed with ṭha below and na above pha" means it is situated above pha, which is na, and it is endowed with the letter ī below ṭha. "Above ṇa below la" means the letter ya is below la and the letter i is above ṇa; it is endowed with that very thing. Furthermore, it is stated: "Situated below va and possessing the void below ḍa" means the letter u is situated below ḍa, and "void" refers to the bindu (drop); together with the crescent moon, this is the oral instruction. These three, endowed with those two, are applied to the ha situated below va, so the letter ha is made into three. The three short u vowels together with the bindu are applied to the letter ha. This is the section on the long hūṃ as described in the Sādhana composed by the glorious Avadhūtipa.
Likewise, since this is a distinct sādhana, there is no fault. Regarding the phrase "situated above Ca and below Ra," this refers to the syllable Pha situated above Ca, and the syllable Ṭa which is below Ra; thus it is "together with the upper." Regarding "three," one should understand through the pith instructions that this extracts a single Phaṭ. Regarding "possessing Tha below Śa and below La," this refers to the syllable Sa below Śa and the syllable Va below Tha; "possessing" also means possessing the lower part of Na, and since the lower part of Na is Ā, it is possessed of that. Furthermore, regarding the expression "the place of Sa," this refers to the syllable Ha between Sa and Ya; "together with the left of Jha" means the syllable Ā is to the left of Jha, and it is possessed of that. Regarding the phrase "the form of the great secret syllables is expressed," "great secret" means to conceal it thoroughly without showing it. This is because it is the cause for attaining the supreme. "The form of the syllables is expressed" means expressing that which arises from the heart mantra of the vowels (āli) and consonants (kāli). If one asks by whom, it is "the Vajra Goddesses," which refers to Vajravārāhī, Praśastā, and so forth. "This is the mantra of these" refers to the mantra of those goddesses. If one asks how to prepare the sindhura, it is "by writing," meaning on a vessel of sindhura or a vessel written upon by means of awareness. "Recite" means to perform the recitation after becoming weary from meditation. "Meditate" means to meditate on the cakra within the lotus of the goddess. "It is to be done" means to practice it at all times. Regarding the description of the benefits, starting from "the wish-fulfilling jewel" and so forth, it says: "This is the king of mantras."
This is connected to the statement in the Sādhana [of the Cakrasaṃvara] that it "bestows the supreme bliss." The "wish-fulfilling jewel" (cintāmaṇi) is the distinction of raining down precious gems. The "wish-granting tree" (kalpavṛkṣa) is that from which all needs and desires arise as its fruit. The "supreme vase" (kumbha) refers to the excellent vase, which is inexhaustible. By the term "glorious" (śrīmat), "glory" (śrī) refers to excellence. The phrase "the cow of the milk of desire" means that everything one desires arises from it. By the phrase "by accomplishing those," if these four are accomplished, they will become merely givers of wealth in this life. By the statement "this bestows wealth together with bliss," the meaning is that through this, all worldly and transcendent purposes will be achieved.
The section titled "Explanation of Suchness" (tattvavyākhyāna) is the ritual for extracting the mantras (mantroddhāra) from the commentary on the perfect accomplishment of the wisdom of suchness (tattvajñāna). Regarding the passage beginning with "offering" (pūjā) and so forth, it is connected to the statement: "Whichever king of mantras is placed upon the crown of the head, that person will be protected." By the phrase "the cause of offering," it means for the purpose of making offerings to the sindūra. By the phrase "the ritual" (vidhi), it refers to the equal sequence of the ritual. By "the wise one" (vidvān), it refers to one who knows the suchness of the goddess. By "relying on a vessel," the "vessel" refers to a mirror and so forth. "Relying" refers to the excellent sindūra. The phrase "upon which" refers to the sindūra itself being described as the protection. Alternatively, the "vessel" refers to birch bark and so forth. "Relying" refers to the purpose of drawing the wheel (cakra) for the sake of protection. By the phrase "by that," it means by that which has been drawn. If one asks how it should be done, the word "placed" (baddha) means upon the body of the one who is to be protected.
Where should it be placed? It says, "On the head, the neck, and the shoulders," meaning it should be placed on the head and so forth. "By a child" refers to the wearer and others. "Properly" means it should be done as if making an offering, or after the offering has been made. "It should be protected" refers to the subsequent bestowal. Regarding the benefits, it is said: "Seeing the child protected, even the nāgas and others will flee in terror." This is the connection. Not only the kumbhāṇḍas, but also "those bhūtas" refers to those who roam in the sky. "Grahas" refers to the nāgas and so forth. "Those who roam at night" refers to the class that does not roam during the day. "Together with the hosts of piśācas" means they have gathered in great numbers; they too will scatter and depart. Furthermore, "whatever malevolent beings" refers to those who cause fear in children, making them distressed. "Terrifying" indicates those who cause fear in others besides that. They too will flee, just as it is said: "Terrified and tormented, they flee into the forest like a powerful lion." This means that just as tigers and other forest animals flee into the woods in terror upon seeing a powerful lion, so too do they scatter and depart. The section from "By the yogi" connects to "this accomplishment is written." "Of the yogi" refers to the yoga of the goddess, the nature of cause and effect. "Having obtained the sublime oral instructions" means having approached the feet of a sublime guru, received the instructions, and realized them directly. "Clear" refers to a mind that is perfectly lucid.
"Stainless" (vimala) means having abandoned the stains of conceptual thought. "Wisdom" (jñāna) is the nature of self-knowing awareness. "Perfectly accomplished" (siddha) means having obtained and found the supreme oral instructions. "Having written this" refers to this method for generating coemergent wisdom.
How the oral instructions were obtained shall now be told. From the words "Then," and so forth, the instructions are obtained. This is connected to the phrase "relying on the lotus feet," and thus "for the sake of obtaining that" refers to where the supreme accomplishment is achieved. "With devotion" refers to the action of the disciple. "Speaking" refers to the activity of the guru. "Bestowing" refers to the purpose of giving the pith instructions. "Methods" refers to the specific qualities of what was obtained. "With physical exhaustion" refers to serving the guru through various means. "By those who bow down" refers to prostrating. "Of the sublime guru" refers to one's own guru.
The master then uttered this aspiration: "In the world..." and so forth, up to "...may they become vessels for pure awakening." In connection with this, "benefiting the world like a mother" means acting for the benefit of all like one's own mother. "Generating many" means benefiting many, which refers to the two types of accomplishment (siddhi). "That supreme suchness" means that the nature of awakening is the supreme accomplishment, which is the wisdom of suchness (tattva-jñāna). "That which is" refers to the cause for obtaining the supreme. "Having done that" means having performed it oneself. "Virtue" refers to the dharma to be generated in the continuum. If one asks how, "free from faults" means being without negativity.
The teaching by way of an example: "The light of the full moon," and so forth. This refers to the light of the full autumn moon. "Whoever sees it perfectly" means seeing the stainless virtue for oneself. "By that" refers to that virtue. "Free from the stains of worldly contention" means that the world—the three realms—is thoroughly agitated by the stains of contention. "Agitated" refers to worldly beings. The "stains" born from such contention are non-virtues, and by them they are disturbed. Alternatively, "contention" refers to subject and object, or to strife and the like. "Stains" refers to the afflictions and so forth. The world is "thoroughly agitated" by these two. "Free" means having abandoned those. "By the purity of perfect awakening, becoming a vessel" means having become free from contention and the like. If one asks what is to be done, it is to make one a vessel for that. If one asks what that vessel is for, it is for the "Great Seal" (Mahāmudrā). "Seal" means that which brings about attainment. "Great" means unsurpassed; it is that which brings about its attainment. "Becoming equal in cyclic existence and peace" means that all the sufferings of saṃsāra without exception have been destroyed. "May I attain the benefit of all sentient beings" is easily understood.
The ritual for offering arising from the Tantra shall now be written. First, one should visualize oneself in the divine pride of the Blessed Lady: OṂ SUṂBHANI SUṂBHA HŪṂ HŪṂ PHAṬ. OṂ GṚHṆA GṚHṆA HŪṂ HŪṂ PHAṬ. OṂ GṚHṆĀPAYA GṚHṆĀPAYA HŪṂ HŪṂ PHAṬ. OṂ ĀNAYA HO BHAGAVĀN VAJRA HŪṂ HŪṂ PHAṬ.
With this four-faced mantra, one should bind the directions. Then, on a very clean mirror or similar surface, one should anoint it with saffron, sandalwood, or other fragrant substances mixed with red pigments, while reciting the three syllables. Then, reciting the previously mentioned four-faced mantra for each direction starting with the east, one should draw a square maṇḍala with the left hand in a counter-clockwise direction. Regarding the offerings and so forth, there is a tradition of using twenty-four names: pīṭha upapīṭha kṣetra upakṣetra chandoha upachandoha melāpaka upamelāpaka vilāva upavilāva śmaśāna upaśmaśāna. Then, with the tip of the ring finger of the left hand, one should draw the syllable vaṃ, the playful delight, in the center of the six-cornered maṇḍala. In the outer rim starting from the east and so forth, the four auspicious signs should also be drawn. The mantra for this is: oṃ vajrarekhe hūṃ svāhā. With this, the lines are drawn. oṃ surekhe sarvatathāgatādhiṣṭhantu svāhā. With this, the lines are blessed. Then, treading with the foot and looking upward, one utters the sound pheṃ and, forming the blazing mudrā, circles counter-clockwise. With the mantra for summoning and so forth—jaḥ hūṃ vaṃ hoḥ—one summons the goddesses invited from Akaniṣṭha, and performs the stages of summoning, entering, binding, and pleasing. In this context, they possess the nine moods such as the graceful and so forth, along with the six yoginīs.
Together with the eight lords of the directions and the various yoginīs, bhūtas, pretas, piśācas, ḍākas, and ḍākinīs, one should make offerings of red flowers with the heart mantra arising from the extraction of mantras, facing toward the utterly pure samaya-maṇḍala in the center of the eight charnel grounds in a dancing posture. Then, with "Oṃ vaṃ, haṃ yoṃ, hrīṃ moṃ, hrīṃ hrīṃ, hūṃ hūṃ phaṭ phaṭ," combined with the three-syllable mantra, one should also make offerings to the six goddesses at each of the six corners. "Oṃ āḥ nanda varta hūṃ phaṭ" is the svastika-whirl mantra; with this, one should make offerings in the four directions. According to some traditions, one makes offerings to the four goddesses, such as the ḍākinīs, who are seated in the center as previously described. Then, having performed the offerings of praise and so forth, one should dismiss them with "Muḥ." Furthermore, one should offer clothing, drinks, and so forth to the young maiden according to one's ability; this is the explanation of the offering ritual.
Now, the ritual of the torma (bali) shall be explained. First, fill a lotus vessel or similar container with excellent food, drink, and so forth. Beneath that which is thus placed, from the syllable Yaṃ, arises a wind maṇḍala; above that, from Raṃ, arises a fire maṇḍala. Upon this, a white Āḥ completely transforms into a lotus vessel resting on a tripod of three human heads. One should then visualize the food and so forth contained within it in that manner.
From OṂ TRĀṂ AṂ KHAṂ HŪṂ LĀṂ MĀṂ PĀṂ TĀṂ VĀṂ, the five nectars and five lamps arise. As they take on their natural state, fire blazes from the movement of the wind maṇḍala, and the ten substances blessed by the ten seed-syllables melt together. Above this, which is the color of a fresh sun, one should visualize a khaṭvāṅga about a span in height, the color of mercury, arising from a HŪṂ and facing downward. Then, the steam from the boiling substances in the skull-cup melts the khaṭvāṅga, which falls into the vessel; one should visualize those substances as being the color of mercury and cool. Above that, one visualizes the three syllables OṂ ĀḤ HŪṂ, which are the purity of the āli and kāli. Light radiates from them in the ten directions, summoning the wisdom nectar of the lords of heroes and heroines, which then enters and dissolves into the vessel. Then, the OṂ and the other syllables also melt in succession and fall in, blessing the three syllables accordingly. Then, having bound the blazing mudrā and preceded by the utterance of "PHEṂ," one summons the Blessed Lady. Upon her arrival, one should make offerings, preceded by the arghaṃ and so forth. With both hands raised in the manner of opening the vajra-palms, one places or visualizes a lotus vessel and recites this to take possession of the torma:
"The goddesses are valid cognition, and the samaya is valid cognition; the words they have spoken are also supremely valid. By these truths, may these goddesses become the cause for taking me under their care." Thus it is said.
Then, circling the amṛta to the left, one should offer it by reciting three times: OṂ VAJRA ARALLI HOḤ | JAḤ HŪṂ BAṂ HOḤ VAJRA VĀRĀHĪ SAMAYA STVAṂ DṚŚYA HOḤ. One should visualize that the Blessed Lady’s white HŪṂ draws it in with the light from the hollow of her vajra-tube tongue, and she partakes of it. Then, having offered the gola and so forth, perform the offerings and praises, and request the attainment of the desired accomplishments. Regarding that:
"O you who have joined craving and peace in equanimity, who have crushed the waves of conceptual thought, and who, like space, know all things to be only suchness; O protectors of the river of mind, whose stream of supreme compassion has expanded—may the assembly of deities please hold me in your care!" Thus one should say.
Then, for those dwelling in the eight charnel grounds and so forth, recite twice or more: OṂ KHA KHA KHĀHI KHĀHI SARVA YAKṢA RĀKṢASA BHŪTA PRETA PIŚĀCAOṂ MĀDA APASMĀRA ḌĀKA ḌĀKINYA DAYA IMAṂ BALIṂ GṚHṆANTU SAMAYA RAKṢANTU MAMA SARVA SIDDHIṂ ME PRAYACCHANTU YATHĒVAṂ YATHAIṢṬAṂ BHUÑJATHA PIVATHA JIGHRATHA MĀTIKRAMATHA SARVA KĀRTAYA SAPHUKHA VIŚUDDHAYE SAHAYIKĀ BHAVANTU HŪṂ HŪṂ PHAṬ PHAṬ SVĀHĀ. One should visualize that these many beings partake of the food in the form of amṛta with their tongues. Following that, having offered the gola and so forth, and having also performed the offerings and praises, snap the fingers with the symbolic hand and then recite the hundred-syllable mantra.
The Extensive Commentary on the Establishment of Suchness, titled Explanation of Suchness, composed by the feet of the great scholar-monk Vīryaśrīmitra of the glorious great monastery of Vikramaśīla, is hereby complete.
Having heard it well from the presence of the Nepalese scholar Mañjuśrī and Jaitakarṇa, the translator, the Śākya monk Nyima Gyaltsen Pal Zangpo, translated it well at the great monastery of Tharpa Ling by the command of the holy guru. May it become like the sun and moon upon the earth!